Time Off Issue #1496 by TheMusic.com.au

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GIVEAWAYS Doctor Who Series 5: Volume 4 contains episodes 10-13 of the brand new series and promises more adventures and scary enemies as the New Doctor tries to solve the mystery of a staircase that people go up, but never come down. Thanks to Roadshow Entertainment we have five copies up for grabs! Subject Line: DOCTOR WHO VOLUME 4 Kevin McCloud is joined by interior design guru Naomi Cleaver, award winning architect Deborah Saunt and architecture critic Tom Dyckhoff as they share expert advice on how to create a dream home with their own trade secrets, inspired by some of the most popular builds from the Grand Designs Series. Thanks to Roadshow Entertainment we have five copies to give away of Grand Designs Trade Secrets Series 1 & 2. Subject Line: TRADE SECRETS Brooklyn’s Finest captures the volatile and deadly world of one of New York’s most dangerous precincts through the eyes of the men and women pledged to protect and serve. It stars Richard Gere, Ethan Hawke, Don Cheadle, and Wesley Snipes. Thanks to Roadshow Entertainment we have five copies up for grabs! Subject Line: BROOKLYN’S FINEST Owen, a social outcast who is viciously bullied at school forms a profound bond with his new

neighbour, Abby. As a string of grisly murders occupy the town, Owen has to confront the reality that this seemingly innocent girl is really a savage vampire. Let Me In, is a haunting and provocative thriller based on the best-selling Swedish novel Lat den Ratte Komma (Let The Right One In) by John Ajvide Lindqvist, and the highly-acclaimed film of the same name. Thanks to Icon Film Distribution we have ten double in-season passes to give away! Subject Line: LET ME IN Thanks to Kristian Fletcher we have five double passes to give away to the Sci-Fi Movie Double at Tribal Theatre on Friday Oct 8. The Day the Earth Stood Still (1951) and Alien (1979) will be screening on the night. Entrants must be 18+. Subject Line: SCI-FI MOVIES Ramblers Skydiving Drop Zone at Toogoolawah (near Esk, an hour and a half out of Brisbane) is holding Equinox Rocks 2010 - Australia’s first Extreme Music Skydiving Festival on Saturday Oct 16. Angry Anderson, Dallas Frasca, Legless and many more will be playing at the all ages festival, and we have got one double pass to give away! It runs from 2 – 11pm, there’s heaps of live music and the sky will be full of skydivers and parachutists, plus you can camp at Equinox Rocks for free! Subject Line: EQUINOX ROCKS Thanks to Wonderlick Entertainment we have two double passes up for grabs to Airbourne’s gig at The Hi-Fi on Saturday Oct 23. Entrants must be 18+. Subject Line: AIRBOURNE @ HI-FI

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CONTENTS

ISSUE 1496 FRONT ROW

TIME OFF

Get your music industry news from The Front Line Lowdown – news, opinions, tours, Backlash, Frontlash Are Die Antwoord serious? You be the judge There’s more to Clare Bowditch than meets the eye We All Want To do what they feel ProTools, Stone Sour have simply had it with you Alexisonfire: ten years, still screaming More than your money’s worth with the Lil’ Band O’ Gold Reminisce about li’l Lars Frederiksen with GBH Scott Spark takes failing to new heights Jonneine Zapata confounds modern music expectations ‘Little Orchestra’ Pink Martini keep things timeless Barons of Tang aren’t sure why they’re such a great party band It’s been a steep learning curve for Georgia Fields On The Record has the latest, greatest and the not so greatest new musical releases Chris Yates spotlights the best (and worst) tracks for the week in Singled Out

12 14 18 20 21 22 23 24 25 25 26 26 26 26 28 28

Find out what’s happening This Week In Arts The best and worst of stage and screen in our Film and Theatre Reviews Until the Light Takes Us peels back the veil of Nordic black metal Julie Bertucelli kept things close to the chest for new film The Tree A bit close for comfort with Buried director Rodrigo Cortés Cultural Cringe stands up for the little guy Our DVD Reviews can help determine how you spend your couch time Words and Wine with Women of Letters

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ADVERTISING Advertising Account Executives: Melissa Tickle, Adam Reilly DESIGN & LAYOUT Designer: Matt Davis, Stuart Teague Cover Design: Matt Davis ACCOUNTS & ADMINISTRATION Administration: Leanne Simpson Accounts: Marcus Treweek CONTRIBUTORS: Time Off: Lawrence English, Ben Preece, Dan Condon, Craig Spann, Daniel Johnson, Chris Yates, Matt O’Neill, Alex Gillies, Richard Alverez, Mark Beresford, Emma Heard, Andrew Haug, Stu Harvey, Adam Curley, Daniel Wynne, Lochlan Watt, Roberta Maguire, Kenada Quinlan, Carlin Beattie, Bill Johnston, Tyler Jones, Tyler McLoughlan, Mitch Knox, Sam Hobson, Rachel Tinney, Tony McMahon,

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Our Live section is packed full of tour info, live reviews, local news and more stupid shit than you could imagine Stu Harvey gives us a Short Fast Report Dan Condon gets the dirt on the blues scene from the Roots Down Adam Curley cuts sick with another musical pop culture rant in The Breakdown Lochlan Watt gets brutal in our new metal column Adamantium Wolf We take you behind the music Behind The Lines What do you do when you need to get rid of something? iFlog

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CREDITS EDITORIAL Group Managing Editor: Andrew Mast Editor: Steve Bell Acting Editor: Dan Condon Front Row Editor: Daniel Crichton-Rouse Editorial Assistants: Dan Condon, Mitch Knox Contributing Editor: Adam Curley Interns: Maddie Lakos, Scott Thompson

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Doyle, Lily Luscombe Luscombe, Jake Sun Sun, Benny Doyle Barrie Morgan Front Row: Mandy Kohler, Lauren Dillon, Adam Brunes, Matt O’Neill, Mitch Knox, Jessica Mansour, Guy Davis, Rowena Grant-Frost, Danielle O’Donohue Photography: Stephen Booth, Kane Hibberd, Dane Beesley, Alex Gillies, Silvana Macarone

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INDUSTRY NEWS ARIA’S ARTISAN WINNERS As part of the 2010 ARIA Award nominations, the four artisan awards were announced. Kris Moyes, the brother of The Preset’s Kim Moyes, won Best Video for his work on Sia’s Clap Your Hands and Wayne Connolly won Engineer Of The Year for his contributions to Paul Dempsey’s Fast Friends track. Elsewhere Angus & Julia Stone cleaned up with Producer Of The Year and Best Cover Art for their self-produced and self-illustrated album Down The Way. Expect them to pick up a few more at the main event as well.

RADIO FODDER

Megan Washington

The 22nd Australian Commercial Radio Awards will take place at Melbourne’s Crown Saturday Oct 16, and Amy Meredith, Michael Paynter and The Potbelleez announced as performers. Roy & HG will host the night, with radio personalities presenting a number of awards. Twitter co-creator Don Sagallo, the keynote speaker at the national radio conference the day before, will present an award, while it’s yet to be announced which winner of the New Artists 2 Radio initiative (Radio Ink, The Smart) will also perform.

SPUNK LEAKS OWN TOURS

MUSICAL CHAIRS

In their latest newsletter, Spunk Records closed the email with a list of “tour rumours”. Potentially a ploy to drum up attention for new album releases, it seems like we can expect at least a couple of Wild Nothing, Yeasayer, Gold Panda, Olof Arnalds, Mountain Man and Sufjan Stevens at various festivals early next year.

Tony Harlow has been appointed Managing Director of Warner Music Australia, effective from October, in the wake of the shake-up caused by Ed St John’s departure as Chairman. Fostered in the ranks of EMI UK, he will report to Warner Music Asia Pacific CEO, Lachie Rutherford.

LAST DAYS OF AGAINST ME!?

INDEPENDENT’S NIGHT Cloud Control and Dan Sultan were the major winners at the 2010 Independent Music Awards, held at Melbourne’s Forum Theatre last week. The Blue Mountains based folk revivalists won Best Album for Bliss Release and Breakthrough Artist, while Sultan achieved the honour of Best Artist and Best Blues And Roots Album. Elsewhere Little Red’s Rock It was regarded as the Best Single or EP, Parkway Drive’s Deep Blue the Best Hard Rock or Punk Album – something they’ll aim to replicate at the ARIAs. Kasey Chambers, Poppa Bill & The Little Hillbillies won Best Country Album for Lost Music Blues; Urthboy’s Spitshine was judged the Best Hip Hop/Urban record. Stu Hunter’s The Gathering won Best Jazz Album and Midnight Juggernauts stormed it in for the Best Dance/ Electronica. Voted by Nova radio listeners, the inaugural most popular category went to the John Butler Trio.

NICK CAVE PEAKS; THEN FALLS Footage of Grinderman leader Nick Cave crashing into the band’s drumkit on stage in Manchester last week went viral over the weekend, putting the singer in the mostwatched-clips-of-falls-on-stage league with Mariah Carey and Steve Tyler. Always adopting more of a daunting stage presence than a graceful one, Cave took it in his stride possibly because he was celebrating his biggest chart success in the US to date. His band’s Grinderman 2 set had last week debuted in the States’ chart at 38 - that’s a higher peak than for any of his Bad Seeds or collaboration releases. However, Cave’s ex-duet partner Kylie Minogue is struggling for continued mainstream success in the US but Get Outta My Way has become her 13th Dance/Club Play Chart hit (including four number ones), it jumps to seven this week. Joining her there are Sydney’s Yolanda Be Cool & D-Cup who leap to 25 with We No Speak Americano. It’s the highest chart position ever reached by a non-Kylie Aus dance act in the US (surpassing Madison Avenue’s peak of 88 with Don’t Call Me Baby in 2000).

LATE NIGHT WITH... Mavis Staples & Jeff Tweedy are hitting the US talk show circuit to hawk their You Are Not Alone collab; they hit David Letterman’s show on Wednesday night (on Ten) and The Colbert Report on Thursday (Comedy Channel and ABC2). Also coming up on Letterman are Gorillaz (Friday) with Mark Ronson, My Morning Jacket and Antony & The Johnsons scheduled next week. Beats the heck out of the music guests we get on local variety TV.

FRESH FACES Melbourne’s Face The Music conference has announced his second round of speakers, including Mark Wilson (Jet), Angie Hart, Adalita Srsen (Magic Dirt), Michael Haydon (The Middle East), Jason Mayall (Fuji Rock Festival), Lindsay McDougall (triple j), Nick O’Byrne (AIR), Kirsty Rivers (APRA), Patrick Donovan (Music Victoria), Rebecca Laubi (Arts Law Centre of Australia) and more. It happens Friday Nov 19 and Saturday Nov 20.

ARIA LOOKS TO CREDIBILITY After last year’s commercial and critical backlash, the 2010 ARIA Awards have undergone a cosmetic and content makeover. The announcement of the nominations, held at Sydney’s Conservatorium of Music last week, highlights the event’s shift, giving the nod to indie triple j-centric bands over the more typical mainstream pop. Out of the five artists that received six nominations each, Angus & Julia Stone, Sia, Birds Of Tokyo, Guy Sebastian and Washington, only one (Sebastian) is a product of the reality TV processes. Tame Impala, The Temper Trap and John Butler Trio even beat out retiring Powderfinger with five nominations each to the ‘Finger’s four. Speaking to The Front Line following the announcement, Birds Of Tokyo’s Adam Spark said, “With all due respect to your iconic Australian artists of recent times ... it’s really cool. It feels like everyone this year is newer and far less established.” Sia, in New York currently and rating her chances of coming away with an award at “nil to none”, is a little more oblivious to the shift and the mainstream/‘indie’ divide. “The bottom line is that everybody is working incredibly hard to make their ‘art’ ... The focus should be on how hard people work and how much joy they bring, not how they are distributed or marketed.” Four artists are up for the Album and Single of the Year categories; Angus & Julia Stone’s Down The Way (album)/Big Jet Plane (single), Birds Of Tokyo’s Birds Of Tokyo/Plans, Sia’s We Are Born/Clap Your Hands and Washington’s I Believe You Liar/How To Tame Lions. Angus & Julia Stone, Birds Of Tokyo, Powderfinger, Tame Impala and The Temper Trap are up for Best Group whilst the timing of Clare Bowditch’s political commentaries and album release make her a favourite for Best Female while Dan Kelly, Dan Sultan, Guy Sebastian, John Butler and Paul Dempsey are a well rounded Best Male group. The long overdue first ever Best Hard Rock/Heavy Metal Album award should go to Parkway Drive for their efforts over the last few years, but they may be pipped by emerging Dead Letter Circus in a group that also has Airbourne, The Amity Affliction and Violent Soho. Most of The Wilson Pickers are overseas but Sime Nugent was at the ARIA Nominations Event to see the band’s Best Blues & Roots Album nomination for their second album, Shake It Down. “Oh we’ll be at the ARIAs – it’s always a party – we have way too much fun,” Nugent laughs. Like everyone else nominated this year, The Wilson Pickers automatically go into the new publicly voted category of Most Popular Australian Artist. “I think everyone gets to. They’ve added this other aspect to it. I don’t think anyone quite understands what it all means at this point. It seems to have taken on a touch of the Logies or something!” The event moves to the Sydney Opera House this year, on Sunday Nov 7.

LIVE NATION’S CHAIRMAN OUSTED Largely criticised for bringing the ‘Hollywood’ mentality of big spending and fast moves to the music industry, Live Nation Entertainment Chairman Barry Diller resigned his position from the board in a move which, as The Wall Street Journal claims, highlights growing divisions within the giant concert promoter. The resignation will take place at the board’s next meeting – date yet undecided – and may cap off a miserable period for the company. Live Nation shed 20 percent of its share price after a July investor conference shook confidence in the company due to their “short-sighted” business models. The Hollywood Reporter alleges that the move was the culmination of tension between Diller and other members of the board – particularly John Malone and now Liberty CEO Greg Maffei. It has been reported that major shareholder Louis Shapiro, president of Shapiro Capital Management, called the resignation “good news for shareholders.” It is unclear how this will impact the recently launched Australian arm on the industry giant.

PHILLY JAYS CHANGE DRUMMER AGAIN Despite heading to London assured that Calvin Welch would be their permanent drummer, upon Philadelphia Grand Jury’s return the band have parted ways due to “personal commitments and a heavy touring schedule” (Welch has a family in Australia and the band have international ambitions). The next through the band’s regularly revolving door behind the kit is Brisbane-bred, Berlin-based Susanna Patten of I Heart Hiroshima, who’s committed to the band’s UK, US and Australian tours.

ERNEST ILLNESS Roland ‘Ernest’ Ellis has been forced to cancel the planned co-headline tour with Parades due to a hearing problem that could be exacerbated and cause permanent damage if he’s exposed to loud noise. Under medical advice, he has pulled out of his Sydney support slot for Glenn Richards but will complete his appearance at Perth’s One Movement festival.

Often criticised by formative fans for their move away from DIY punk roots and signing to a major label, Against Me! cancelled their entire Australian tour last week. Contrary to belief that it was caused by poor ticket sales following the backlash against latest, and most ‘polished’, The Front Line can reveal that the “unforseen circumstances” were closer to home, as the shows themselves were selling very well, probably on the verge of selling out. They then cancelled all their international touring commitments with no explanation. Drummer Warren Oakes left the band last year and bassist Andrew Seward was taking time off in August for the birth of his child, complications which could explain the decision to pull the plug on 2010’s schedule. However, the negative response and shift in fan base since this year’s White Crosses is no secret.

THE PLAN’S BACK ON After The Front Line reported previously that post-hardcore outfit The Getaway Plan were in discussions regarding a possible reformation, the band have launched a website that appears to confirm the fact. With a new photo of the four-piece rehearsing new tracks, there are eight countdown timers which will hit zero weekly to 11am on Monday, appearing to indicate that the band will release a new track once a week for two months. The photo features guitarist Clint Splattering, who joined now ARIA nominated The Amity Affliction during The Getaway Plan’s hiatus and though management are remaining tightlipped about whether the band will tour again, he would almost certainly have to leave TAA if they were to. TAA have a huge tour schedule ahead of them leading into the new year in both Europe and America as they try to attempt to gain a foothold in those markets. It seems that Getaway Plan frontman Matthew Wright’s side project with Kitty Hart, Young Heretics, will be short lived.

LABELS HOLDING OUT ON ARTISTS APRA (Australian Performing Rights Association) are currently looking at ways to improve the flow of unclaimed funds from the four major labels to artists and writers who they cannot locate. Labels are not always the most eager in working to distribute these ‘Black Box’ incomes, and despite keeping their own records in respective Clearance Facilities, The Front Line believes that they are not actively transferring the ownership of royalties even when contact details are available. APRA will be holding discussions with labels and publishers to make sure the procedure is being carried out correctly.

FRESHLY INKED Promising Sydney garage rock outfit Straight Arrows have signed to boutique label Rice Is Nice for the release of their forthcoming debut album. Multi instrumentalist Yann Tiersen, famed for his soundtrack to indie film Amelie, has signed to Anti-Records (Epitaph) and will release his new album Dustlane Thursday Oct 15. New Jersey pop rock trio For The Foxes have joined Hopeless Records.

THE IN SOUND FROM WAY OUT Brisbane’s ROOM40 have now been presenting an alternative take on sound to audiences across the globe for over a decade. Ahead of the latest instalment of the label’s fifth annual Open Frame festival, MATT O’NEILL speaks to founder LAWRENCE ENGLISH about the company’s tenth-year anniversary celebration.

Lawrence English

t’s difficult to overstate the unique impact room40 has had on the city of Brisbane over the past ten years. While hardly as visibly ubiquitous or as accepted by mainstream audiences as more frequently celebrated institutions like Powderfinger, the independent label has nevertheless played a pivotal role in Brisbane’s gradual (and ongoing) transformation from a perceived fortress of conservative values into a vibrant and multi-faceted arts hub. Designed by Brisbane personality Lawrence English as an outlet through which to organise and promote his various interests as a multimedia artist and curator, the label’s numerous releases, festivals, concert series and multi-arts events have, over the past ten years, managed to successfully transition the ambiguously-defined and confronting phenomenon of sound-based artworks from insular fringe communities into the ears of more populist audiences. “I’d say the aesthetic of room40 is almost a philosophical one,” English explains of the company’s intentions. “I profoundly believe that sound can transform people’s understanding of the world around them and touch them in a truly unique and evocative way. I feel anyone can connect with this work and what I hope room40 can continue to do is to offer people the chance to have these experiences. Sound is absolutely entrenched in our being – we can close our eyes, but not our ears. “Initially, the main impetus behind the label was to get artists’ music out to the right ears. There were a number of records early on I heard and felt other people needed to experience them as well,” the composer elaborates. “That’s still fairly much the case. I want people to connect with this work as strongly as I do. I feel very strongly that there’s some incredible sound and music work being created inside and outside of Australia and room40 is very much about making it possible for that work to be heard as widely as possible.” The greatest accomplishment of the label, from a communal perspective, has arguably been its legitimisation of the artist-run initiative within the Brisbane arts community. A composer and multimedia artist with releases on labels across the globe and countless installations to his credit, English is hardly the first artist in Brisbane’s history to develop the city’s cultural capital with an independent label; The Saints did as much some 25 years prior with their Fatal Records imprint. English is, however, one of the first artists in Brisbane to have established such a label and have it acknowledged as a vital artistic force by established institutions within the city. Room40, for example, currently curates concert series and festivals at The Judith Wright Centre of Contemporary Arts (Syncretism), the Brisbane

Powerhouse (Liquid Architecture, Open Frame) and the Institute of Modern Art (Mono, MicroMono). “I dearly love Brisbane and when I am away I realise why I love it. Admittedly it’s become more expensive and frustrating in terms of infrastructure to a degree, but it’s a growing city,” the composer enthuses. “And growing cities are vibrant and exciting, filled with opportunity and that excites me greatly. I don’t think Brisbane’s soul is conservative – there’s amazing work bubbling away all the time. “That said, some of our larger institutions could do with taking a few more risks,” English elaborates with qualification. “I sometimes feel there’s a lack of trust in the Brisbane audiences – an underestimation of sorts. Venues like the Powerhouse, IMA or Judith Wright, though, have really led the way in seeing more unusual work get recognition. I hope other larger scale events and institutions follow suit.” Of course, to focus solely on what room40 has contributed to Brisbane’s cultural landscape as a functioning artist-run initiative is to vastly underrepresent the label’s accomplishments. It’s important to note that, at its heart, the label has always been defined by an unnervingly precise level of quality control – releases from acclaimed artists such as Ben Frost, DJ Olive, Erikm and countless others consistently delivering sonic experiences both challenging and rewarding. One need only look at what and who has been involved in the celebration of room40’s tenth anniversary to appreciate the label’s pedigree. The most obvious example would be the label’s idiosyncratic ten-part cassette mixtape series (featuring contributions from Pimmon, Taylor Deupree and Tenniscoats) but the label have been delivering remarkable celebratory events and packages all year – from English’s recentlyreleased Site Listening: Brisbane book to the line-up of this week’s Open Frame Festival (including Grouper, Pimmon and a rare English solo performance). “I guess the thing is these events only happen once, so it’s nice to take the chance to reflect a little and let people know what you’ve been up to, what you’re doing and what might come next,” English reflects of the celebrations. “I was certainly aware of it last year, and started to think about a way to make the year something special. It’s really been a wonderful year, lots of great events with old and new members of the room40 family, lots of vinyl editions and a swag of great new releases.” Open Frame takes place at the Brisbane Powerhouse Wednesday Oct 6 and Thursday Oct 7. For more info on room40 visit room40.org.

IN BRIEF Bloc Party/Ash guitarist Russell Lissack was bitten by a lion cub, sent to a hospital (which was then shut down due to an “unidentified virus” causing “mysterious deaths”), and involved in a car crash during a recent Ash tour of South Africa. Don’t go to South Africa. Trent Reznor is working with HBO and the BBC in co-producing a “sci-fi epic” TV miniseries based on Nine Inch Nails’ 2007 album Year Zero; mustsee TV, surely.

WISDOM AND PURITY

Nine albums in and the Hoodoo Gurus are still kicking along strongly; so strongly, in fact, that the band is still on form enough to be able to make special announcements like this one and still have people give a crap. Firstly, the big news: they’ve planned a national tour throughout November and December, fresh off the heels of being the globetrotting rockstars that they are and seeing some of the world. Partially to support new single Are You Sleeping and partially because they damn well can, the Hoodoo Gurus will be rocking through Brisbane on Saturday Dec 11 to play The Hi-Fi with support from The Break. Tickets are available through the venue, OzTix and outlets. Part two of the goodness is that to support the tour, the band is releasing the Purity of Essence Special Edition, out Friday Nov 12. It comes with the CD itself as well as a DVD which includes a mockumentary about the behind-thescenes workings of the eclectic outfit. There, all that should give you your Hoodoo fill for the time being.

Metallica guitarist Kirk Hammett is writing his autobiography. It should be called RAWRRR: The Kirk Hammett Story. It probably won’t be, though.

THE ALPHA & OMEGA

National music legend Paul Kelly is making sure the next six months are ones for the history books as he tours The A To Z shows, which are four-night alphabetically-ordered retrospectives which canvass 100 songs from his immense back-catalogue. It’s a huge undertaking set contrastingly in the most intimate of atmospheres as Kelly accompanies himself only with his guitar and the warm faces in the room. With 30 years of storytelling experience behind him, it’s unsurprising that he should find the resources to release a book, How To Make Gravy, which dropped late last month through Penguin Books. As a complement to the memoir, an eight-CD box set – The A To Z Recordings – has also been released, so if you can’t get tickets to the shows (they go on sale Friday Oct 8, by the way) this might be the next-best thing. Paul Kelly plays the Powerhouse Theatre between Tuesday Nov 30 and Friday Dec 3.

IN BRIEF

It has been terrifyingly reported that, after meeting at this year’s MTV Video Music Awards, Cher and Lady GaGa are discussing collaborating in the near future. Yikes.

HEEPS GOOD

LL Cool J and Bon Jovi made the list of Rock and Roll Hall of Fame 2011 nominees. Rush, eligible since 1999, did not. Again. Neither did KISS or The Smiths. What is the Hall even for?

After over a quarter century, British heavy rock legends Uriah Heep are making their way back Down Under for a whirlwind adventure of mayhem and ear-shreddery early next year. The band’s career has spawned over 20 studio albums and nearly 30 singles, meaning that this is one of those ‘once in a lifetime’ acts you spend so much of your life hearing about and never expecting to see. You can rest assured though that the band will be bringing with them every ounce of style, weight, depth, and progression when they blast The Tivoli’s collective face off on Thursday Mar 31, 2011. Take the opportunity; it mightn’t come again. Tickets go on sale Friday Oct 15 at 9am and will be available through Ticketek and redanttouring.com.

Wyclef Jean has announced plans to run in 2015 for President of Haiti. The Haitian-born hip hop/reggae stalwart attempted candidacy this year, but was rejected on the grounds that he had not been a consistent resident for a 5 year period.

Everybody Hurts by REM, Eric Clapton’s Tears In Heaven and Leonard Cohen’s Hallelujah were named the Top 3 songs most likely to make men cry by a recent UK survey, confirming what we all knew: men in the UK are sissies.

FILLING THE GAP If there’s one thing Australia doesn’t have enough of, it’s music festivals. Okay, so that’s not strictly true; we seem to have more every year, but that’s no reason to not give the new blood a chance. Take Harbourlife, for example, heading northwards for its maiden Queensland showing this year at the Gold Coast. Location: check. The line-up is classy, with folks like The Temper Trap, Yacht Club DJs, Canyons, Metronomy, Knightlife, “and more”, so that’s a big “check”. The festival happens Sunday Nov 28 at the Broadwater Parklands, so the timing should be just about right for it to be a gorgeous day all around, which is another “check” if it happens. It’s been called “son of Parklife”, and it will probably have better weather. What more do you want, really? Tickets are on sale now and available through fuzzy.com.au and OzTix; they’ll set you back $99 + bf for a standard pass and $150 + bf for the “More Expensive Ticket”, which is probably the most honestly named thing you’ll ever buy.

RAINING IN EARNEST ON PARADES

MESSAGE RECEIVED

US singer/songwriter Joe Pug is set to make his debut strides Down Under next month in support of well-received recent debut full-length Messenger. The young troubadour has been making great strides in his home country and abroad, having already toured the UK and wider Europe as well as around the States. There’s plenty to be found within the music of the modest Pug that speaks to your inner Americana (the genre, not the Offspring album) fan, whether it’s the introspection, the melodies, the instrumentation, or whatever have you. As an added bonus, he will be supported by Melbourne’s own Chris Altmann, himself making respectable splashes of his own around his home city. Acquaint yourself with the good times on the first of what will hopefully be many visits when Joe Pug plays the Troubadour, Wednesday Oct 10. Tickets are available through the venue, OzTix and outlets.

Sad news, kids: Roland ‘Ernest’ Ellis has been forced to cancel his co-headline tour with Parades due to an illness which affects his hearing. Sure, he could have ignored it and played for you anyway and done himself some serious and likely irreversible damage, but what kind of monster would want someone to do that for their personal enjoyment? You know who you are and you best feel appropriately chastised. Besides, it’s not all bad – refunds will obviously be available for ticket-holders from respective outlets, and this way there will likely be Ernest Ellis shows for a long time to come after this healing period which is way preferable to a couple of months’ worth of performing before his ears give out on him.

WIDE GRINS Due to popular demand, kick-arse Aussie rockers Grinspoon are extending their Six To Midnight tour and reaching out to their fanbases in regional Queensland. The band have just announced new dates in Bundaberg, Gladstone, Emerald, Mackay, Townsville, Airlie Beach and Cairns as well as a date a little closer to us at the Villa Noosa with support from The Snowdroppers and Foreign Objects on Sunday Nov 14. OzTix has you sorted for tickets, they cost $37.75.

The inimitable Buddy Collette – bandleader, saxophonist and civil rights activist – has passed away aged 89 as a result of respiratory problems.

AXE YOURSELF THIS QUESTION “Should [insert your name here] get on board with The Gin Club, since they’ve released four full-length albums and are up to their third single – Choppin’ Wood – from their last record Deathwish?” The answer is yes; yes, you should. You should also stop talking about yourself in the third person; it’s unbecoming. But the first thing is more important: if you’re not on The Gin Club’s bandwagon yet, now is the perfect time to acquaint yourself as they prepare to set off on one of the most extensive tours they’ve ever undertaken. As a bonus, even, they’re re-joined by Stockholm-based founding member Ola Karlsson, and will be playing a thorough selection from their back- and front-catalogues, so existing fans get treated to the classics, and new blood get a nice introduction to one of the finest mainstay acts of our local scene. The Gin Club play The Hi-Fi Saturday Nov 20 with Dave McCormack & The Polaroids, The Stress of Leisure and more TBA, and Sunday Nov 21 for a Boat Cruise gig on The Brisbane Star. Check the band’s website (theginclub.com.au) for additional info.

Slash has admitted he considered calling a truce with Axl Rose to get the singer to lay some vocals down for his solo album, but ultimately decided against it because he “wanted to put the record out in this millennium.” Oh, snap. At 35, US/UK musician Mark Ronson has announced he thinks he is too old to perform and will retire in the next five years. We’re sure it has nothing to do with the death threats he’s received since 2007 regarding his cover of The Smiths’ Stop Me If You Think You’ve Heard This One Before. Some ‘pre-Photoshop’ shots of Madonna leaked to the web from a recent Dolce & Gabbana photo shoot which have shocked people – shocked, we say – by showing her to be leathery and wrinkled; maybe because she is 52 years old.

SUNSHINE, RELAXATION AND ROCK

Next year’s A Day On The Green Festival is looking strong: not only are the recently reformed Baby Animals performing alongside Train, pictured, and ARIA Hall of Fame inductees Models, but the big news is that Aussie rock stalwarts INXS, with “special guest” JD Fortune, will be kicking off their first tour of the country in 4 years in conjunction with the event. The shows also support the release of their highly-awaited twelfth full-length album, making this appearance one for the memory books if you’re a fan. A Day On The Green happens on Sunday Jan 30 2011 at the Sirromet Winery in Mt Cotton. Tickets go on sale through Ticketmaster Monday Oct 11 starting at $105+b/f for General Admission up to $175+b/f for Gold passes. Check adayonthegreen. com.au for more info about the festival.

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IN BRIEF Kanye West has pulled the plug on his weekly free music downloads, dubbed ‘Good Fridays’, after songs from his upcoming as-yetuntitled album leaked online. We guess he’s mad people didn’t let him finish.

SHAME, AUSTRALIA; SHAME

US alt-rock luminaries The Lemonheads have a double-whammy of surprisingly non-sour news for Australian fans: not only are the legendary trio returning to our shores this November and December, but they will be performing their 1992 magnum opus It’s A Shame About Ray from start to finish in addition to selections from the rest of their discography. The album is still widely regarded as frontman Evan Dando and co.’s finest hour, and for added patriotism value, much of it was written on our shores. The Lemonheads play The Zoo Tuesday Nov 30; tickets go on sale tomorrow (Thursday Oct 7) and are available from handsometours.com, Oztix and outlets.

WARRIORS OF COUNTRY ROCK We know what you’re all thinking: the only way country music could get better would be with a symphony orchestra behind it, right? Well, your prayers have been answered because there is a very special country act hitting our city early next year and they’re bringing exactly that – The Queensland Symphony Orchestra, in fact – with them. This is no run-of-the-mill country performer we’re talking about here, either; we’re talking about the legendary, multi-award winning forefather of country music Kenny Rogers. Yes, Mr. Rogers is using himself the finest orchestra in the state (maybe even the country, but we don’t want to start some orchestral rivalry which ignites the nation) when he takes to the stage at the Brisbane Convention and Exhibition Centre on Tuesday Feb 1, 2011. He’ll be supported by fellow country superstar Troy CassarDaley, making for an event of transcontinental and culturally significant proportions. Tickets of varying excellence will set you back $99/$89 for B Reserve and $139 for a seat in the A Reserve section. Call Ticketek or use their website to reserve your place.

THIS IS HARDCORE The annual Byron Bay Hardcore event is now into its fifth year and organisers have just unveiled the line up for the 2010 show – rest assured it’s another cracker. With performances from Carpathian, Word Up!, Against, In Hearts Wake and Think Twice, it is fairly obvious to anyone who is familiar with these bands’ respects oeuvres that this is the most diverse bill that has been put together for one of these shows in its history, ensuring there is something of interest to any self-respecting fan of the new breed of Australian hardcore music. Each of these five bands have proven over the years that they are capable of putting on incredible live performances so you’ll certainly get bang for your buck when the bands cruise in to the Byron Bay YAC on Sunday Oct 31. Doors open at 6pm, entry is just $15 and, of course, it is open to people of all ages. See you in the pit.

OUT OF THE CAGE There’s still plenty of action in the Dead Letter Circus camp months on from the release of their stunning debut album This Is The Warning. To start with, the band are releasing Cage the latest single from it early next month, will be supporting Muse on their two massive Entertainment Centre shows and will also throw in a couple of regional dates so everyone can get their fair share of the band’s fine melodic rock. If you’re in and around Toowoomba you can see them at the Shamrock Hotel on Thursday Oct 7, if you’re in Lismore then they’ll be at Mary Gilhooleys Thursday Dec 2 or if you’re down the coast you can watch them do their thing at the Parkwood Tavern on Friday Dec 3. Tickets for all shows are $20 + bf or $25 on the door.

CITY BOYS BEWARE Legendary US contemporary country music luminary Alan Jackson is heading our way for the first time in a career that has seen him win over 15 Country Music Association and Academy of Country Music awards – each – and sell over 50 million records. He’s had his share of #1 hits, so he is no run-of-the-mill cowboy by any stretch of the imagination. The downside is the tour isn’t till March next year – Jackson will play the Brisbane Entertainment Centre Thursday Mar 10 and Friday Mar 11 – but members of Entertainment Edge’s Red Carpet Club are able to access a pre-sale to beat out the general public until 5pm today (or until allocations run out). You can access Ticketek’s website to grab any extra info you need.

For the first time since 2002, you’ll be able to add a new Fat Wreck Chords Fat Music compilation to your collection with Vol. 7: Harder, Fatter + Louder! scheduled for release this November. Killing Time, the upcoming new full-length from Long Island rockers Bayside, has had its release date announced as Tuesday Feb 22, 2011. Legendary producer Quincy Jones has described Amy Winehouse, who he recently collaborated with, as so talented she could be “from another planet”. Well, we’re half with you at least, Q-Ball.

CLEAR-EYES WILL SOLVE THAT Melbourne dub/reggae stalwarts The Red Eyes are hitting Queensland streets again this October in the wake of their national album launch for sophomore full length Red Army. Having just been nominated for the AIR’s Best Independent Blues/Roots Release award, the reasons are plentiful to catch them in the act when they return to our fair city. They’ve been hard at work on the road since May, with a full plate still in front of them – they’re lined up to play at the inaugural Melbourne Music Week in October, New Years’ Eve’s Pyramid Rock Festival (Vic) and a nationwide spot on the Raggamuffin Tour. See – all things Red-Eyed do not necessarily equate to poor productivity and a desire to never leave the couch. The Red Eyes hit Club Envy, Maroochydore Wednesday Oct 20 (tickets through Oztix), Currumbin RSL Sound Lounge Thursday Oct 21 (tix through venue), The Brewery, Byron Bay Friday Oct 22 and the Step Inn Saturday Oct 23 (both through Oztix).

CUT OFF Pink Martini have cancelled their show in Brisbane that was set to go down this Monday at the Tivoli. They will still be playing at the Caloundra Music Festival on Sunday Oct 10. Limited types and amounts of tickets are still available so head to the Festival website (caloundramusicfestival.com) to grab yours before they deplete entirely. It might happen, you know.

FREE DOWNLOADS Just a quick reminder for you all to grab your Boy & Bear and Matt Costa downloads from universalmusic. net.au/freedownloads/streetpressaustralia before they disappear forever to be replaced by new freshness in the near future. If you don’t remember, Boy & Bear’s Mexican Mavis is up for grabs and that track’s a good’un, what with its Unearthed recognition that netted the quintet a spot at last year’s Homebake Festival. From Costa’s corner, the emotionally-charged The Season serves as a well-rounded introduction to the troubadour’s work if you’re unfamiliar, and a steady continuation of form if you are. Go on, then. Get amongst it.

MAGIC PIPE, ‘NUFF SAID

Any one man band is fun to watch, whether it’s a success or disaster. Some people really make it work beyond the novelty value, like Atlanta’s That 1 Guy, who centres his whole performance around a specially-constructed ‘collection of swivelling pipes, metal gears, bass strings and electronic buttons all connected by a rainbow of coloured wires’ collectively referred to as the Magic Pipe. If that’s piqued your interest, you’ll be happy to know that not only does That 1 Guy have a new album out entitled Packs a Wallop! but he is embarking on an also-named tour Down Under in November and December in support. He’ll be backed up by Sydney’s eclectic maestro Mr. Percival for most of the tour, and the pair will hit The Brewery, Byron Bay Monday Nov 29, Villa Noosa Wednesday Dec 1, Miami Sharks, Gold Coast Thursday Dec 2 and The Globe Theatre Saturday Dec 4. Tickets are available through their respective venues and OzTix for the Brisbane gig.

Steve Kilbey of The Church fame has pleaded guilty to kicking his American father-in-law in the groin during an argument at home earlier this month. To be accurate, Kilbey took two strikes to the head, called the police, and then delivered the nad-shot. Singing Justin Bieber dolls will be released in time for Christmas. This is after his first book Justin Bieber, First Step 2 Forever: My Story drops in October, and before the February release of a “3D biopic”. Clothing company Keep and Animal Collective have joined forces to produce a line of shoes for charity. The second design in the line, The Guerra hightop, was designed by band member Deakin (real name Josh Dibb) and follows Avey Tare’s Tobin slip-on.

WILSONS ARE PICK OF THE LITTER

If you see some folks walking around the streets with their chests unusually puffed, it might be local pseudo-bluegrass alt-country rockers The Wilson Pickers. After all, the band have just had sophomore record Shake It Down be nominated for Best Blues & Roots Album at the upcoming ARIA Awards, which makes it their second nomination in as many albums; not too shabby for an outfit that had its roots as a side-project for the various members to blow off a little excess creative steam. As a pre-Christmas present to you (and themselves), they’ll be playing some special shows here and in Melbourne in December. With the buzz behind the fun-loving quintet ever-growing, these shows may be the perfect opportunity to catch them on top of their game and well in their element. The Wilson Pickers play The Troubadour Thursday Dec 9. Tickets are available through OzTix for $15 + bf.

OH WHEN THE SAINTS!

OH. WHEN THE SAINTS?

It has taken 31 years, but finally the Dragons are officially the best team in the National Rugby League competition. How sweet it is. Choke on that! Acting editor is still drunk so forgive all spelling mistakes is this issue.

Another year, another dose of heartbreak for the St Kilda Football Club. They had all the moral support in the world (seriously, no one likes seeing the Pies win) but just couldn’t get it together on the day. Always next year, right?

CHARGE!

LET ME RIDE

Our editor Steve Bell is overseas taking in the sights and sounds of the Matador Recirds 21st Birthday Party in Las Vegas at present and it sounds pretty damn sweet. You can keep up with his adventures by visiting streetpress.com.au/spa_touring.

How long is it going to take before someone gets seriously injured on one of these new hire bikes? It’s not a bad idea but without suitable inner-city bike paths it’s just going to be another fucking annoyance on the roads/footpaths.

DOING THE BOLT

SPIDA EVERITT

Comedian Tony Martin’s comments about Andrew Bolt on Twitter [see @scrivenersfancy] have prompted the infamously conservative columnist to post his disgust on his Herald Sun blog.

You’re a fuckhead. Besides, we always offer Milo to our guests – nocturnal or otherwise. NRL GRAND FINAL

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DIE, MY DARLING

They’re sure to be the most polarising band of the 2011 Big Day Out but that’s what makes DIE ANTWOORD so alluring. Lead vocalist “NINJA” WATKIN TUDOR JONES tells NINA BERTOK this band is the best thing he’s ever done, even if he can’t do it sober.

WHAT THE ‘F’ IS ZEF?

Yep, if you’ve ever wondered what Ninja and Yo-Landi were on about, “zef” is actually a real word… as far as the underground Afrikaan rap scene is concerned, anyway. Although its meaning can range from ‘masturbate’ to ‘vagina’, according to Die Antwoord, it’s more akin to a hick dressing up in gold chains. As Jones further explains, the essence of ‘zef’ seems to be not too far removed from what you get in Jersey Shore and even our own Kath And Kim, at that… “It’s like letting the inner kitsch free. Ninja is not me, it’s my ‘zef’, like a larger version of a small part of me. In South Africa you can be really classy but really trash. Like, you can have the money to buy lots of gold, but then when you wear lots of it you don’t look classy. Or maybe you don’t have money but you got jewellery, you’re ‘zef’ too.” Musically, on the other hand, ‘zef’ sounds a lot cooler than it looks. As Jones explains, it’s one half rap and one half rave, with a whole lot of lyrical confusion thrown in for good measure. All in all, it’s South Africa’s answer to the UK working-class rap variant. “Maybe like Euro-trash too. It’s kind of like C+C Music Factory in some ways, too. But with the attitude of a street gangster. You take the elements that sound good but don’t really traditionally go together, and you create something totally new. It comes from the hip hop family but we take it to the next rap/rave level. It’s fucking savage; it’s cool. No, it’s beyond even cool! It’s inspired by taxi cabs and by parties where you look around and all your friends are there! It’s music but it’s a style, it’s our flavour. It means no one can even touch you, it’s the ultimate style.”

heir image may make them appear like another ‘interweb’ fad thanks to their eye-grabbing antics and outrageous personalities, but underneath the surface South Africa’s Die Antwoord are continuing to rise above the YouTube hype thanks to their foreign, exotic brand of hip hop and rave. Not that any of it is really new to its outspoken lead vocalist Ninja [Watkin Tudor Jones]. “All the things I’ve done until now, it’s just fucking boring background stuff,” Jones says. “I’ve tried a lot of things. It’s like, when you get bored of someone and then you move onto the next one – and that’s what I did. It’s all made-up. We’re all just exaggerating different versions of ourselves and making them into characters. Die Antwoord is what I’m doing now – this is my bitch! I’m not thinking about all the other stuff I’ve done. We’re just making it up as we go, there’s no vision for it or anything. We want to make rap music and we want to make another album. I have never planned anything in all the time that I’ve been doing this.” Also consisting of Yo-Landi Vi$$er and DJ Hi-Tek, it’s Jones that’s had the longest association with the South African hip hop scene over the past decade, during which time he has taken on many different bizarre monikers, not unlike Sacha Baron-Cohen. For Jones, it seems the rap veteran has finally found the collective he’s been looking for. With the release of debut album $O$, the video for the single Enter The Ninja became so popular online thanks to millions of hits that Die Antwoord had to move to an Americanbased internet host provider to handle the traffic. “Yeah, we’ve got an album called $O$,” he states. “But then we’ll have another album we’re working on called Ten$ion and then there’ll be another one called The Voice. We want our band to be an introduction of

“We’re all just exaggerating different versions of ourselves and making them into characters. Die Antwoord is what I’m doing now – this is my bitch!” South Africa to the world, because it’s not known for the music yet. I think it should be, that’s what we want. So we’ll have to make it more so that the rest of the world can understand what we’re trying to bring; mostly it will be in English but with a little bit of Afrikaans.” The ‘zef’ style in particular, actually. A local slang term for ‘redneck’ or ‘hick’, Jones says that Die Antwoord is the representation of the deep, dark, depths of Africa. Not to mention, the most exciting project Jones has been a part of since the mid 90s. “It’s good that people are talking about it,” he says of the music video for Enter The Ninja, which has got the likes of Katy Perry and Fred Durst singing their praises as the coolest ‘new thing’ on Twitter. “I love that song. I can’t stop looking at the video too. I think it’s probably the coolest thing I’ve done in my life. I don’t know what everyone else thinks but it’s good news on the ‘interweb’. I think the thing is when we recorded the song we were so drunk we just didn’t care about anything at all! Otherwise, if I don’t drink I get really nervous and if I’ve had nothing to drink I will just stare at the cameras and won’t know

what to do. So what you see in the video and in the song is all so freestyle. I think people probably liked it so much because people are sick of fake shit. I think they probably appreciate the rawness and no faking it. It’s not like a music video that you see on your television, it’s totally freestyle and no director or anything like that. I think most people are just too contrived. Freestyle and immediacy is very important and that is a lot of which we’re about.” When it comes to the rest of the crew, including DJ Hi-Tek and “my homegirl” Yo-Landi, Jones refers to them as the closest thing to family – but a bit more gangster, a little more street. “We are like family from the hip hop family in South Africa,” explains Jones. “DJ Hi-Tek was already making some beats before Yo-Landi came along and we just started putting songs together. Hi-Tek had this computer that he made awesome phat rap/rave beats on, and I knew we had to do something when he showed it to me on his PC. Yo-Landi brings in the funk flavour. It’s like a world crew because in South Africa you have so many different peoples living all in one place, it’s like all the countries in

Wednesday 6th October

And just maybe that’s exactly what we’ll get in real life when Die Antwoord get on board next year’s Big Day Out national juggernaut, having already toured Europe and the US this year. Chances are, as Jones confirms, nobody will really understand a damn thing when the trio hits the stage, but one thing’s for sure – they’ll “want to get drunk”. “We like it that people yell at us and try to know the lyrics,” mocks Jones. “When we do our shows it’s always great to watch into the crowd because there is always someone getting punched in the face and there is usually a lot of vomit all around. That’s what happens in South Africa; we hope it happens in Australia. We’re bringing the ‘zef’ flavour, lots of synth beats and some next level rave shit.”

WHO: Die Antwoord WHAT: $O$ (Universal) WHERE & WHEN: Big Day Out, Gold

Coast Parklands Sunday Jan 23, 2011

Saturday 9th October

The Psyde Projects (Melb) This Dog Bites Danny Cool | Charlie Hustle

Thursday 7th October

Sunday 10th October

Friday 8th October

While no one as yet has quite been able to work out whether the image of Die Antwoord is for real or for show, the music itself is undeniably next-level stuff. Describing it as “rap/rave,” Jones says, “in South Africa, rave music is everywhere. It’s in the restaurants and it’s in the bathrooms and the cabs. And in South Africa they play it really loud. You can just close your eyes and you see in your mind all the smoke machines and lasers and homeboys.”

The Catchment |Holly Terrens Maggie Collins

Dunsinane | Friends of Ben Harvey Satan & Penny Lame

648 Ann street fortitude valley QLD 4006 www.xandybar.com.au

one. You get English, Afrikaans, Zulu, all kinds of whites and coloured… All of that comes out in the music.”

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Card Houses | Tramp Fiesta DJ Bacon | Butters

Monday 11th October Bar Closed

Tuesday 12th October Unlikely Super heroes Stephen Denham

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RUNNING WILD CLARE BOWDITCH is typically viewed as a singer-songwriter by Australian audiences. MATT O’NEILL, speaking to the musician ahead of her final headlining tour of the year, discovers so much more.

lare Bowditch has never sat comfortably within the role the Australian public has given her. While the Melbourne songstress’ musical output over the past ten years has rightfully positioned her as one of Australia’s more respected singer-songwriters, there have always been too many oblique angles and surprising edges lurking beneath her folk-inflected pop songs for that particular profile to be anything other than a placeholder for something more idiosyncratic and egalitarian. “I think if you are to make a living as a musician, or any kind of artist for that matter, you must have a relationship with the commercial world,” Bowditch reflects of her ill-defined position within Australian culture. “You have to accept that as part of the landscape and that’s something I’ve always had to struggle with as an artist. I’ve never felt pigeonholed, though. I’m sure people have tried but I’m quite confident in the impossibility of such a task.” One need only look at the university degree Bowditch initially pursued after graduating from

high school to understand there is more to the singer-songwriter than her, admittedly quite accomplished, musical career. Studying at Melbourne University’s School of the Creative Arts, Bowditch secured a Bachelor in Creative Arts – a degree which, in addition to encompassing musical studies, also covered creative writing and documentary-making (among numerous other pursuits). “My major was actually in writing,” the singer-songwriter reveals. “And, in my final year, I actually split my major. I did creative writing, radio/ documentary-making and ethnomusicology and, while I was at the university, I did theatre, I did puppetry and I did 2D and 3D animation. Music is what comes easiest to me and that’s been my focus for the past five years, because I don’t think you can do all things at all times, but I’ve always been interested in a lot of different stuff as an artist.” Bowditch’s musical output, meanwhile, has always contained hints and clues as to the weirder and wilder ambitions at the heart of the singer-songwriter’s interests. Her 2004 debut solo album Autumn Bone, for example, saw Bowditch insert a somewhat anachronistic Casiotone keyboard into the otherwise traditional folk instrumentation of her work while singles like 2005’s Divorcee By 23 have always hinted at Bowditch’s literary background. “The kinds of careers that I’ve always admired – and I’ve said this since the very beginning of my career – have been the careers of people like Paul Kelly, Laurie Anderson, David Byrne and women like Feist. I like the idea of having a long and interesting career,” Bowditch explains. “I’ve never fallen for the fast and sharp early career followed by no substance. I don’t see the point of fame as an end in and of itself. “You know, I never feel like I know what I’m doing and I love that about my life. It leaves the entire spectrum of possibilities open,” the musician says with a laugh. “I’ve never claimed to know what I’m doing and I never will. I’ve only ever followed my instinct and hoped for the best. I was actually quite terrified of any success at all in music until about the age of 25 when I finally got the fuck over myself and decided to actually give it a crack.” Whereas previously Bowditch’s work could be defined almost exclusively as the work of a creative artist operating as a popular musician, the past six months have signified the wholesale complication of such a description. Modern Day Addiction was the arguable breaking point. Bowditch’s fourth solo album (and first with new backing band The New Slang), Modern Day Addiction was released in August this year and, in a very real way, represented an enthusiastic redefinition of Clare Bowditch’s work as a musician – the singer-songwriter substituting the beauty of her home-grown chamber-folk for more confronting textures record in Berlin and rooted in funky and angular synth-pop. “I didn’t actually see it as a conscious change in direction – but it did very much scare me,” Bowditch explains. “I don’t feel any obligation to change. It’s just whether I’m bored or not. I’ll happily sit on the same groove for ten albums if it works for me but I’ve yet to find that kind of area. This set of songs popped up and, if I’m honest, they terrified me. I didn’t know what they were on about and it took me about a year to figure out what to do with them.” Since the album’s release, meanwhile, Bowditch has been expanding into other areas. The most obvious example would be the interview she conducted with Julia Gillard prior to the election for MySpace Australia but, beyond that, Bowditch became the first musician to ever be invited to perform on ABC’s Q&A program earlier this year following her debut as a guest-panellist for the programme. “I’m thrilled to do those things at this point in my career,” Bowditch enthuses. “Q&A is obviously a show I’ve watched and been a fan of for a long time and I was thrilled to be a part of it. I did ask myself what my role was in a program like that but I realised that my role in situations like that is to simply be who I am – a songwriter from Melbourne who is fairly outspoken who doesn’t have any real shareholder interests to protect – and I think that’s a great position to be in as an artist. “This is why I enjoy being invited into those kinds of environments so much,” the singer-songwriter continues. “I mean, it was an incredible honour to spend an hour with Julia Gillard and really pummel her on the contradictions I was noticing in the election. I didn’t have to be anything other than myself and I could just ask questions about matters that concerned me. I really hope I get more opportunities like that in the future.” The tour Bowditch is currently enjoying, by way of example, could be the singer-songwriter’s last major solo tour of Australia for a considerable amount of time. Bowditch has been lined up as the supporting artist for Leonard Cohen’s upcoming tour but, following those shows and some European dates, the musician plans to develop her non-musical pursuits even further – discussing the possibility of writing for TV while continuing her interests in social commentary. “I think this is what I would like to see more of in the next generation and I think it’s a completely realistic way for us all to live our creative lives,” Bowditch reflects. “What I saw happening in Berlin and right throughout Europe was that you are able to make a living as a creative through changing fields and being a multi-aspect artist. It’s been hard for Australians to do that before but I think we’re seeing more of it now. “I have definitely in the last 12 months veered more into writing and social commentary and that’s very much been a conscious shift,” the singer-songwriter reveals. “Unless you’re a major commercial artist, you have to be fairly creative about how you make a living and how you sustain your creative ambitions. Really, I’m happy to go wherever the wind takes me as long as I’m doing something that feels true.”

WHO: Clare Bowditch and the New Slang WHAT: Modern Day Addiction (Island/Universal) WHERE & WHEN: Surfers Paradise

Beergarden Thursday Oct 7, The Hi-Fi Friday Oct 8, The Irish Club, Toowoomba Sunday Oct 10

ONE MORE TIME TIM STEWARD has released debut albums under local outfits Screamfeeder and The Whats as well as under his own name. MATT O’NEILL speaks to the Brisbane veteran about his latest band WE ALL WANT TO’s eponymous debut album.

“I

guess it does feel the same way each time,” the singer-songwriter considers of releasing his fourth debut. “It’s always something of an open slate and anything can happen from it. That said, releasing the second or third album is always better because you have something to fall back on and you have a foundation. I actually won’t investigate a band until they’re a couple of albums under their belt.” Until recently, Brisbane could easily have been described as the quintessential indie city. There have been few major musical communities throughout popular music’s development which have so consistently and naturally embodied the ideals championed by the original glut of independent labels of the 80s as did the Brisbane scene of the 90s and early-noughties. Whereas most musical cultures are defined by the struggle for mainstream success and financial security, Brisbane has consistently been home to a significant contingent of accomplished and ambitious artists for whom mainstream success and financial security have never been anything other than unlookedfor possibilities in musical careers driven almost solely by passion. Tim Steward is very much a product of this culture. The songwriter has been a vital component of the city’s musical culture since the early 90s with acclaimed ensembles like Screamfeeder and The Whats – but, Screamfeeder’s minor mid-90s dalliance with an overseas label aside, Steward has yet to so much as pursue anything even resembling mainstream success.

“I’m not really affected by Screamfeeder when I’m working on other material,” Steward explains. “The only problem I have is when I spend three hours writing a song before I realise that it’s a song I wrote on a Screamfeeder album back in 1999 and have to start all over again. “When we started working as We All Want To, though, I quite specifically wanted to work with cleaner guitar sounds and have people hear the individual notes and strums,” Steward explains. “And, by and large, we’ve maintained that on the record. There’s some distortion on the record but, for the most part, it’s a very different sound.”

WHO: We All Want To WHAT: We All Want To (Plus One Records) WHERE & WHEN: The Troubadour

Friday Oct 15

“You know, as long as I’m in a band with people I like and we can make good music, then it’s mission accomplished as far as I’m concerned. This is what I do now and I’ve been doing it for such a long time so, if I can enjoy it, then I’m doing fine,” Steward reflects. “The fact that I’m still here is an accomplishment in and of itself. “Back, say ten or 15 years ago,” the songwriter continues, “you were always so caught up in the moment that there was very little consideration given to your musical future but, since then, I’ve come to realise that this is what I do and I’m very grateful for that to be the case.” The clue is in the graceful sense of whimsy that decorates the musician’s career. Quiet and articulate, Steward is not the kind of musician to spruik hyperbolic statements of rebellion and independence but, throughout the man’s lengthy career, there’s been a perpetual, almost lackadaisical, disregard for authority and convention. If in need of evidence, one need look no further than the career of Steward’s most celebrated outfit Screamfeeder. One of Brisbane’s most enduring acts, Screamfeeder’s six-album, near-20 year career has seen the band delight in confounding expectations through style shifts, hiatuses, reunion tours and spontaneous side-projects. “I’m pretty pleased with how it turned out. Screamfeeder were always this rudderless ship,” Steward laughs. “We didn’t have any master plan or any massive guidance from outside so we always just did our own thing. We made some mistakes and pulled out some musical wildcards but the fans of the band have been very loyal over the years. We’ve never copped any shit for anything we’ve done. “We haven’t broken up, though – but we’ve all been a bit lazy and a bit busy,” the guitarist qualifies. “We’re doing this bizarre thing of being in bands with other people. It’s like when you’re in a relationship and you suggest an open relationship. It’s all a bit weird for a while before everything sorts out. We may do something together again sometime but, for now, there isn’t a pressing need.” It is this whimsical rebellion that makes Steward such a compelling artist. There is the genuine sense, throughout the entirety of his creative output, that the man operates completely without agenda – merely leaping from project to project and song to song as his muse requires. Steward-led two-piece The Whats, for example, was formed purely because Screamfeeder booked a gig they could not play. “I don’t feel any obligation to do something new with any of my projects. It’s the birth of something new that usually leads to a project’s formation,” Steward explains. “I’ve pretty much always been a prolific songwriter. I’ve never had any years where I haven’t written any songs. I’ve always had enough to put out as many albums as I like.” We All Want To, meanwhile, is perhaps the greatest example of Steward’s favourably-dispositioned anarchy one is likely to find throughout his entire career. Originally brought together as the backing band for Steward’s solo work, the band spontaneously evolved into a different project upon formation and are currently on the cusp of releasing their eponymous debut album. “The band was originally put together to play my solo album live but, after we started writing new songs, we decided the band had really turned a corner,” Steward explains. “We actually took about six months to name the band. We had all these horrible meetings and, at one of them, my daughter misheard someone and went ‘We All Want To?’ and I went – ‘Yep; that’s the name’. “Life in We All Want To is pretty exciting at the moment. We’re finally releasing the album and we’ve already got the majority of songs written and ready for the next one. We just took forever over recording this one – we did it in a lot of small sessions and that cost a lot of money – and, as a result, it’s full of songs with an age-range anywhere from one- to four-years-old. “It’s actually been quite interesting, though,” Steward enthuses. “There’s always that thing when you record an album where, by the time you hold it in your hands, you’ve heard every song on it about a thousand times and you really don’t actually want to listen to it but, with that separation, I can actually go back and listen to it with a fresh set of ears and really appreciate it.”

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The band’s music demonstrates the beauty of Steward’s unpretentious approaches as an artist – shimmering, clean-picked guitars punctuated by the occasional kiss of distortion and leftfield detour while Steward’s idiosyncratic, quasi-androgynous voice coasts effortlessly over the cacophony. There’s a youthful exuberance to the record that belies the age and experience of its members

SHOW ME YOUR SOUL In the digital age, it’s easier than ever for heavy bands to deceptively create pristine recordings they’re unable to accurately replicate live. There’s no grand theft audio from America’s STONE SOUR though, as frontman COREY TAYLOR emphasises to BRENDAN CRABB.

ccording to Corey Taylor – known primarily as the vocalist for platinumselling metallers Slipknot – the recording process for the melodic hard rockers’ third album Audio Secrecy ignored the all-tooperfect production values status quo. “We wanted to go for that live vibe,” Taylor says, speaking the day prior to beginning the first US tour supporting the new album. “The thing we noticed over the years is that too many people rely on Pro Tools to fix all their crap for ‘em. “There are bands that even bring Pro Tools rigs out on the road, so they can sound heavier basically. It’s like, ‘Really? Are you serious? You’re backing yourselves up with a bunch of Pro Tools rigs and crap like that?’ To us, we wanted everything to have that live feel. We wanted to make sure everything sounds very organic, everything felt like it would in a live sense. Even though we did go back and did

the overdubs and stuff like that… We wanted to be able to put an album together that was going to sound awesome live as well and be able to show people that you can do that in this day and age.” From a producer and performer standpoint, this trend clearly riles him. “I can hear when vocals have been auto-tuned to shit. It’s immediately insulting to my ears,” he exclaims, laughing. “Nothing drives me more nuts than hearing too much auto-tuning on somebody’s voice, to the point where it sounds like a freakin’ keyboard. To me, you’re just pulling the emotion out of it; you’re pulling everything good about playing music out of it. Can these people just not do it? It used to be that you had to have talent to be able to do this, not just decent cheekbones and a size 28 waist. You had to be able to fucking pull this shit off live. That’s something I’m very proud of with this band. We may be frenetic, we may come off a little sloppy sometimes, but we’re a fucking live band, through and through. We don’t need any fucking help like that. I think the way people are crafting albums these days is very dangerous. I think that’s also the reason why so much music sounds the same in this day and age. Everything sounds like it was recorded by the same fucking band, with the same producer, the same mixer, the same this, the same that. It’s boring, man. Show me your soul.” The enthusiasm Taylor exudes when discussing the new Stone Sour record is engaging. “Lyrically, it’s just kind of a roadmap of where I’ve been the last five years; the things I’ve either noticed or gone through. It’s one of those things where I didn’t set out to… I didn’t sit down and go, ‘Well, I’m just going to open up about this’ – it just happened. That’s kind of because I just follow the lead of the music. If the music’s making me feel a certain way, then lyrically that’s kind of how I go. So it’s good to be able to open up and let a lot of that out.”

“Nothing drives me more nuts than hearing too much autotuning on somebody’s voice, to the point where it sounds like a freakin’ keyboard. To me, you’re just pulling the emotion out of it; you’re pulling everything good about playing music out of it.” Despite being renowned for his bipolar vocal approach – fusing both that scream and clean croon – Taylor firmly states the primarily clean vocal-oriented new album was a creative necessity for him.

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“It was something I was going to shoot for. I just wanted to do it all on this album and especially pay attention to the melodic side of things. ‘Cause I’ve done the screaming, I’ve done all that and for me, it was becoming increasingly more frustrating that people think you’re only being emotional when you scream. I’ve always said that you show more emotion with one beautiful melody line than an album’s worth of screaming. So that was really the point that I wanted to nail home. Luckily, the music that we came up with brought that out of me naturally. But at the same time, it was just time for me to make an album like this. I’ve been showing a little bit more of it with every Stone Sour album and with this album it was just like, ‘You know what? Let’s go all the way’. “[Stone Sour is] just one more way for me to make different kinds of music. I’ve never been the guy who wants to wall myself up in some kind of genre-specific padded room. I’ve got to be able to make any kind of music I want, no matter what. I’m not afraid to share it with people; I’m not afraid to put it out there, I’m not afraid to come out and say, ‘Look, if I want to record a country song, I’m going to record a fucking country song’. “I don’t give a shit. If I’m feeling it, that’s what I’m gonna do. I think that’s one of the main differences between me and a lot of other people. So many people are scared shitless of doing anything that’s not safe; that’s not like, corporate sponsored, basically. I could give a shit less about that. I’d rather let it all hang out and know I risked everything for music, then paint myself into a corner and feel like I didn’t accomplish anything at all.” Considering all the talk of Stone Sour being a live band, it is appropriate that the quintet will share the stage with the veteran likes of Iron Maiden, Slash and Slayer at next year’s Soundwave Festival. While excited about playing guitar on selected new tracks live, Taylor quickly shifts the focus elsewhere.

There Is A Hell Believe Me I’ve Seen It There Is A Heaven Lets Keep It A SecreT

ALBUM IN STORE THIs FRIDAY 22

“I want to make sure that the emphasis isn’t exactly on just what I’m doing on stage. I want to make sure that everybody in the band is kind of focused on. The great thing about this new album is everyone has a hero moment. Everyone has a moment where it’s like, ‘Oh, fucking listen to that bass. Oh, listen to those drums’. It’s really cool. So I want to make sure that everyone gets that moment on stage as well, that live moment, just have a blast and get out in front of everybody. To be honest, it feels like our time. It feels like Stone Sour’s time.”

WHO: Stone Sour WHAT: Audio Secrecy (Roadrunner) WHERE & WHEN: Soundwave, RNA

Showgrounds, Saturday Feb 26

FLAMES OF MIDDLE AGE As their tenth anniversary draws ever closer, ALEXISONFIRE are now well and truly men and their latest record Old Crows/Young Cardinals is evidence of that. But to start collating a history of the band SCOTT FITZSIMONS would be better advised to search the archives of DALLAS GREEN’s mother than the man himself.

ustralia is a long way away from the rest of the world, especially America and Europe, so while it’s expected that bands make the voyage, it’s also greeted with an element of gratitude. Formed in 2001 in Ontario, post-hardcore outfi t Alexisonfire have enjoyed constant and steady success and applause for their four albums worldwide, three of them cracking the top six in their homeland’s chart – including 2006’s Crisis, which nabbed top spot. The fact, then, that their imminent visit will be the sixth time they’ve toured Australia and their second visit this year alone, seems to be cause for congratulations and thanks. Dallas Green would disagree. “We’ve been everywhere else in the world a lot more times than six times,” says the co-lead vocalist and guitarist, who has manoeuvred into the spotlight somewhat with the success of his solo acoustic project City & Colour. “So for us it’s not that big of a deal and we wish we’d been to Australia many more times than six – but it is what it is.” They toured as part of the Soundwave festival in February, but it wasn’t quite as satisfying as their own headline tour will hopefully be. “Festivals are always fun to do, but for me they’re not as fun as showing up and playing a headline show,” says Green. After pumping out three albums in relatively quick succession, the band took three years to follow up Crisis with last year’s Old Crows/Young Cardinals, which even by the title appeared to be their most mature record to date. The album’s content backed up that assertion, as both the record’s accomplished songwriting and lyrical content seemed to track both the band’s transition to middle age. A large portion of their fanbase can empathise with that.

and video clips and stuff like that of us ‘cause I haven’t done a good job of keeping that stuff. “I think when I’m older and older I’ll probably wish I did, but I don’t know. Like I said, I am who I am and I’ve always been this way. I’ve been doing it for long enough now that I feel like if I was going to want to start collecting I probably would have hit that point in my life. And my mum keeps a pretty serious scrapbook of things that I’ve accomplished, so I always have that as a reference.”

WHO: Alexisonfire WHERE & WHEN: The Tivoli Thursday Oct 7

www.handsometours.com Handsome Originals

“I guess it’s like a fear of living in the past that I have. I never want to look at what I’ve done; I always want to be living in the present ... I am who I am and I’ve always been this way. I’ve been doing it for long enough now that I feel like if I was going to want to start collecting I probably would have hit that point in my life. And my mum keeps a pretty serious scrapbook of things that I’ve accomplished.”

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“We’re all getting to that age. By the time we come to Australia next I’ll be 30-years-old [his birthday was Wednesday Sep 29], so it’s kind of hard not to address those middle age topics because I am on my way to middle age. I think we’ll just keep writing the way we write and if we decide to write a song that deals with a heavier topic then that’s what we’ll do.” Crisis really was their breakout record outside of Canada, so naturally the international touring schedule was the most comprehensive it had ever been. It took its toll on the members, who hadn’t taken an extended break for quite some time and it was those demands, the experiences of touring and an ever developing maturity that flavoured the songwriting period for Old Crows/Young Cardinals. There’s the angst of aging of Old Crows, political leanings in Sons Of Privilege and homage their musical roots in The Northern (“A lot of people think it’s a Christian song or a song that has to do with our belief in Catholicism or something, but really it’s not. The lyrics are taken from an old blues song, or an old hymn, called Roll Jordan Roll and it’s been said that that was almost the first blues song ever. And we owe a lot to the blues.”) “I wouldn’t call it writer’s block, I’d sort of call it exhaustion,” Green says of the break they eventually took. “We’d just toured so long for those last two records and we only took a month to write, a month to record in between [2004 album] Watch Out! and Crisis and we went back out on tour. So, we just needed some time away from music in general, not just the band. So we took our own leisurely pace to make Old Crows… and I think it worked out for the best.” Approaching the end of this record’s touring cycle, there’s always the danger that they could suffer the same fatigue this time as well. The band is off to Europe after this tour and then they’ll finally complete a Canadian headline tour, which they’re surprisingly yet to do for this record. “Here and there you feel it,” Green admits. “You can’t help but feel it; it’s an exhausting type of lifestyle. As you get older it gets a little harder here and there, but it’s still the best job I’ve ever had.” Clearly it’s one he still enjoys and has no intention of applying the brakes to as their tenth year anniversary comes up. A good time for reflection and a rare opportunity to revisit some of the older material without the risk of fan backlash, there are no set plans to mark the occasion. It’s more likely that once they’ve go a chance to put their feet up away from the road, it’ll be back to working on new material for a fi fth album that will suddenly be due. “I don’t really know. It would be nice to go back and remix and remaster the first record [2002’s Alexisonfire] and maybe even redo the artwork, go through all the pictures and stuff we have and put together some sort of thing. But we’re not really good archivists as a band as it turns out,”he laughs. “I know I’m not; I don’t even have any of our records. I have one: I have the Japanese release of Watch Out! – that’s it. I guess it’s like a fear of living in the past that I have. I never want to look at what I’ve done; I always want to be living in the present. So, um, we’d have to find people who have old photos

perform It’s A Shame About Ray along with selected Lemonheads classics

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DIGGING FOR GOLD Louisianan supergroup LIL’ BAND O’ GOLD started as a way for guitarist CC ADCOCK to hang out with his heroes and get a couple of free singing lessons. But as he tells DAN CONDON, it has ended up being much more than that.

C Adcock leads an enviable life. The 39-year-old guitarist has spent the better part of 20 years lending his blazingly brilliant skills to some of the world’s most revered musicians. He was a member of Bo Diddley’s band, he’s spent many a year as a sideman to Buckwheat Zydeco, he’s dropped two sensational solo records and more recently he’s written music for the hit HBO series True Blood and even scored himself a cameo in the program. But Adcock’s love of the music from his Louisianan homeland has most recently and most popularly materialised in the bona-fide supergroup that is Lil’ Band O’ Gold, a who’s who of Louisianan swamp pop music featuring legendary artists like 73-yearold drummer/vocalist Warren Storm and legendary singer Tommy McLain to name just a couple. When it came to bringing together a who’s who of Southern music, Adcock says it wasn’t difficult at all.

“You’d be amazed at how laid back the whole thing was,” he explains in a cool southern drawl. “We just asked a few guys to show up on a Monday night at this place called the Swampwater Saloon here in Lafayette. That’s all it was. ‘Let’s get a bunch of great guys together and play songs from the jukebox that we’ve always wanted to play, let’s get Warren Storm back playing drums again and get a free singing lesson every week and let’s get Dickie Landry and Pat Breaux on the horns and put a pedal steel in there too so you can have that crying in your beer thing.’” But very quickly Adcock and his compadre, accordionist Steve Riley, knew they had unleashed something special. “Steve and I were pinching ourselves, saying ‘shit, we found the new Rolling Stones!’. The real hat trick was going to be making new music together as a band, not just do the obvious thing which is play hours and hours worth of our favourite songs from days gone by.” But Adcock could never be accused of being the kind of guy who rushes into things. His two solo records were released ten years apart, the second Lil’ Band O’ Gold record also came a decade after its predecessor and it took them 12 years to make it out to Australia. Adcock says that’s just indicative of the Louisianan way of life. “It just takes a while down here for things to percolate, for things to boil down,” he drawls. “Nothing’s fast; not the way people talk, not the way people move, not the way people fuck, not the way people cook or anything – it just takes some time down here.” With such extensive experience with genuine musical legends, one can’t help but wonder whether this gun guitarist still gets nervous. He does, and that’s the way he likes it. “Of course, man,” he says. “If you don’t get butterflies then something’s wrong, it’s that excitement that creates the performance, it’s that tension that inspires and takes you to that next place I find. I like being put on the spot and I then enjoy the process, when it can be afforded to you, of becoming comfortable with legends and heroes and people that you’ve admired and looked up to. There’s that moment when it goes from being a lesson or a memory or an opportunity or a once in a lifetime situation and it turns into a collaboration. When that happens, when you cross that divide, it really fills your heart and your soul up with music and it makes you feel wonderful that these people that you emulate and look up to... that you can dance with them.” While he may have been the impetus for getting the most renowned swamp pop band of the modern era together, Adcock does not really consider himself a swamp pop musician, claiming his way of playing is too gritty and aggressive. But he obviously remains a huge fan of the genre and holds dear memories of his early interactions with it. “You gotta understand that down here in Louisiana, even though [swamp pop’s] heyday was in the 50s, people like Warren and the other founding fathers of the swamp pop cartel – the swamp papas we call them – they’ve all been having hits for generations, they’ve never really gone outta style down here. We have regional radio down here and I remember being on the school bus and they’d be playing a Warren Storm song next to Rod Stewart. “My daddy had a boat and we’d always go fishin’ on Sundays; there was a swamp pop radio show and Johnny Allen who had the big hit with Promised Land – ironically, he’s the guy we named the record after – was the DJ. I’d just remember we’d be fishin’ on a Sunday afternoon and I’d be hearing all these songs and I thought they were really cool. Of course it’s extra special to you when your mama and your daddy start dancing and having a good time. That music would just make me feel good. “My dirty secret is that Warren Storm and Tommy McLain used to have a matinee show they used to play in this lounge club called Yesterday’s Lounge, and the place would serve us, even when we were 14 years old. We would just go there after school because we knew they wouldn’t check IDs. We’d be there in our uniforms with braces and a silly haircut drinking Crown Royal and 7-Up and listening to Tom McLain and Warren Storm. “I was really into how badass they were, they were so rock’n’roll and so hardcore it was strange that they were playing in this lounge in the middle of the afternoon. It was a weird existence, looking back on it. It sounds like something from a David Lynch film, but it was just my life at the time, I didn’t know it was so strange. Led Zeppelin’s Robert Plant was a recent guest of the band and certainly one of the most high priofile they have had the opportunity to play with. Plant jumped up to help them on a couple of Fats Domino tunes at legendary New Orleans venue Tipitina’s, but, as Adcock explains, the excitement didn’t stop there. “That afternoon Fats himself actually happened to stop by Tipitinas,” he tells. “So it was the Band O’ Gold sound checking, a couple of guys sweeping up the place and Fats Domino hanging out having a cold beer. Fats is Warren’s hero so we started playing Fats Domino songs and got a mic with a long cord – Fats was sitting out on the dance floor – and he started singing along with us. That was really, really amazing. Then you have someone like Plant who was a hero of our generation – Warren didn’t really know much about Robert, half the time he was calling Robert Plant ‘Fred’ because he thought his name was Fred. But all day there was all this great passing of the torch and everybody was just beside themselves.”

WHO: Lil’ Band O’ Gold WHAT: Promised Land: A Swamp Pop

Journey (Dust Devil Music)

WHERE & WHEN: Caloundra Music Festival Sunday Oct 10

STILL KICKING

Formed around the peak of the United Kingdom’s burgeoning punk movement in 1978, GBH have weathered it all, still recording and touring to this day. On the eve of their maiden voyage to Australia, vocalist COLIN ABRAHALL speaks to LOCHLAN WATT.

SUCCESSFUL FAILURE

A part of the cosy musical furniture for years now, Brisbane’s SCOTT SPARK is suddenly ubiquitous thanks to a bout of well-placed shows and the release of his debut album. BEN PREECE gets the goss. leans on others for exposure. Spark’s captivating talents are at the forefront throughout and guests like Seja Vogel, Adele Pickvance (The Go-Betweens), Megan Washington, John Parker (Misinterprotato), Heinz Riegler (ex-Not From There), Chris Pickering and Yeo Choong were all invited to record in bedrooms and studios over the past year or so.

expression on his face, and I said ‘what’s up?’ and he said ‘it smells like perfume and piss in there’ and I just thought it was a good analogy of flying. It also means good and bad, and good or evil or whatever.” Releasing their last three albums all on different labels, Perfume & Piss is the group’s first release for Hellcat Records, spearheaded by Rancid guitarist Tim Armstrong. As Abrahall reveals it’s a friendship before it’s a business relationship, and that it’s been building to this point for a very long time.

“T

o me, the kind of point of punk was, here’s a punk record, go out and form your own band,” offers a casually spoken and cockney-accented Abrahall, who claims the meaning of the genre-defining word has never really changed much for him, even over 30 years later. “We were kind of the audience for the first wave – the Pistols, The Clash, that kind of stuff, and then you go to a few gigs and think ‘Wow I want to be in a band’, so you start rehearsing in bedrooms and wherever you could really.” Since these early days, where albums such as their 1982 debut City Baby Attacked By Rats and 1984 follow-up City Baby’s Revenge, the name GBH became synonymous with their style of English street punk, alongside other such acts as The Exploited and Discharge. “We’ve never stopped in 30 years. It would be impossible for us to stop. So we just keep going,” speaks Abrahall of whatever magic ingredient it is that keeps a volatile unit together and motivated over the passing of such time. The latest product of the band’s dedication is their 11th studio full-length, Perfume & Piss, which has a name that exists thanks to the joy of long international flights. “We were flying to America, and our drummer came back from the toilet during the flight, with a strange

“I really respect Rancid. They started out touring in a car, with all their gear in the boot of a car and stuff. They slowly sort of climbed the ladder or whatever you want to call it, and now they’re huge. We met Lars Frederiksen when he was 11 years old,” the singer/ guitarist of the Californian punk rock institution now being 38. “We were playing a show in San Francisco, and there was a little annoying red mohawk down the front who, in between songs, kept going ‘Give me the mic! Let me sing the song!’ and to eventually shut him up we let him do it. We saw him a few years later, and a few years after that, and the next thing he’s in Rancid, and now he’s a grown up and stuff and he’s got kids.” Their Australian tour dates are wrapped by a New Zealand run and two week-long stints in Japan, a routing which Abrahall claims is booked in a way “because none of us are keen to do a 24 hour flight straight to Australia.” The vocalist dryly adds that he personally “can’t go that long without a cigarette,” and that on-flight smoking is something that he has not attempted to do “post 9/11”, adding that prior to that he “never got caught”. It’s surprising to note that this will actually be the band’s first-ever visit down here, and as Abrahall reveals is certainly not due to a lack of offers from promoters, but a lacking in the quality of those offers, saying that “we’ve had quite a few offers, but they all turned out to be kind of free holidays. Free holidays don’t pay bills.”

WHO: GBH WHERE & WHEN:

Wednesday Oct 13

The Zoo

“I read one of those hipster critiques and one of the things they said was ‘This guy has way too many guest stars on this record’. I laughed at that a little bit because not all my friends play music and if I just wanted to put every fucking person I know on the record than there wouldn’t have been 20 people, there’d be more. It wasn’t gratuitous. For me, it’s about connection and I really do believe music is this rare and special opportunity to just let people connect. That might sound a little hippie but that’s what I believe in. It’s all about the songs for me; there were a lot that were discarded along the way, these guys are the ones that happened to make the cut and all of them were really quite different. So they required a different approach for each.

cott Spark has been a part of the Brisbane music scene for a number of years now, gathering fans and making friends wherever his charming demeanour lands. It all began for Spark at a very early age when most youngsters are still learning to speak and falling off trampolines imitating Superman – not Spark, he was inside taking keyboard lessons, still in his Superman cape though. A couple of decades later and his face is suddenly everywhere, be it on tour with his old buddy Megan Washington for her bout of huge album launch shows, or even a round of his own press thanks to the release of his long-awaited debut album Fail Like You Mean It. “I think a lot of planets have managed to align, I guess,” Spark says of his sudden ubiquity. “In a way, I feel exceedingly lucky to have a lot of great people around me, a lot of really creatively generous people. There’s a lot of goodwill around and I am totally mindful that things don’t always turn out like that. Planets don’t always align and you have to find ways to make things work sometimes but so far it’s all been working really well.” Fail Like You Mean It is definitely a case of “... with a little help from his friends” but not in the way that completely

“This is a record about that clumsy, awkward, haphazard period between teenage-hood and young adulthood and grappling with that and doing the best you can in that period,” Spark announces. “It made a lot of sense to me to have a lot of the people I loved at that time on the record and to really make the most of their talents. It really was not gratuitous at all – every step of the record was intuitive and led by gut feeling. It was just about listening to the songs and hearing what they needed. It wasn’t a cynical exercise at all.” “The song titles are very important to me,” he explains. “I think Fail Like You Mean It or Eat Your Heart Out are the songs that best represent the themes of the record. I wanted to make something that you didn’t need a degree to access or one where you needed some special membership card. I like the idea that it’s pop in the sense that I am not trying to please everybody. My personal goal is to include a Christmas song on each album. I’m daggy, I know.”

WHO: Scott Spark WHAT: Fail Like You Mean It (Other Tongues) WHERE & WHEN: The Zoo Friday Oct 8

Vol. 9 out Nov 1. Your only national guide to summer music festivals…. Book print and online space now. sales@timeoff.com.au 3252 9666

WITCHY WOMAN

With only one album to her name, Los Angeles songstress JONNEINE ZAPATA has managed to secure the respect of Mark Lanegan and Jack White. MATT O’NEILL caught up with the mysterious musician ahead of her debut Australian tour.

SONGS OF MYSTERY CHINA FORBES from Oregon genre smashers PINK MARTINI talks to NINA BERTOK about timeless music, forming conga lines and keeping things festive.

more about the venue itself. Concert halls tend to be quiet and reserved. Rock clubs have a lot more energy coming from the crowd and you can get a conga-line.”

that breeds both catharsis and confusion – the Jim Morrison and PJ Harvey comparisons consistently heaped upon Zapata proving surprisingly apt.

here is something quite anachronistic about Jonneine Zapata. One would think, at this point in time, mystique would be something of a foreign concept within the music industry. The advent of the internet has, for better or worse, ushered in an era wherein no popular musician can survive – let alone flourish – without sacrificing a considerable amount of their privacy and personal identity to the public. Yet – Jonneine Zapata remains both popular and mysterious. On the cusp of her inaugural tour of Australia following American sojourns with Jack White’s Raconteurs and Mark Lanegan’s Soulsavers and an acclaimed appearance at Austin’s legendary South by Southwest conference, Zapata nevertheless remains a practically inscrutable entity when compared with most musicians equipped with such plaudits. The young singer-songwriter is loath to even discuss her age (allowing only that she’s “A relatively young broad”). “You know, I was interviewed at South by Southwest recently and I was accused of being fairly intelligent as an artist,” Zapata explains. “This guy kept on asking about my schooling and my upbringing but, honestly, I’ve had no real experience with tertiary education and I come from a very simple family. I just think there are some things that are for the stage and I think the time for ridiculous behaviour should be, by now, left to the past.” Zapata’s sole release, meanwhile, has done nothing to banish the sense of mystique that envelops her public profile. Released independently late last year (and just recently awarded a local release on Australia’s Laughing Outlaw imprint), Zapata’s debut album Cast The Demons Out is the kind of compelling release

“I don’t really think of my ambitions in musical terms of ‘I want a horn section’ or ‘I want an orchestra’,” the singer-songwriter reflects. “That’s never been my motive or goal. I’m trying to uncover and get to the bottom of some personal things. It just so happens that music is the only square that can hold it. I’d like to know the fear that I haven’t discovered yet. I’d like to uncover some layers and become more sensitive to the issues I haven’t gotten to yet.” What is most fascinating about Zapata is that the sense of mystery that distinguishes her output and public persona would appear to be almost entirely inadvertent. One would expect such ambiguity to be the product of a conscious campaign and media strategy but, in actual fact, Jonneine Zapata resembles nothing much more than a shy artist who has unlocked something more powerful than expected – she seems to shun the limelight only because she doesn’t feel she’s ready for it yet. “I know it would probably be better if I had some great story of what got me into music and what led me to here but, really, I’m just not the type,” Zapata admits. “It was really just a series of events and one thing leading to another. A couple of years ago I started being more thoughtful with my songwriting and I started to be able to put some deeper feeling forth and, you know, through that I ended up recording and making a record and touring.” “I’m very grateful for the praise I’ve gotten,” the singer-songwriter continues. “There are so many people in the world who do not have the good fortune to be awarded praise for anything they’ve ever done. We have a lot of troops fighting ridiculous wars right now and I could be a soldier there or I could be sitting here accepting compliments and praises – and I think I’ve made the right choice.”

WHO: Jonneine Zapata WHAT: Cast The Demons Out (Laughing Outlaw) WHERE & WHEN: The Zoo Thursday Oct 7

BOHO BARONS

How did seven musical misfits find themselves playing ‘Gypsy Deathcore’? BENNY DOYLE speaks to JULIAN CUE, double bass wielding vocalist for THE BARONS OF TANG, about the origins behind this rollicking, party starting juggernaut.

“M

ost of the band met doing a theatre show in 2007 – this wacky, independent theatre show by a company called The Black Lung. We just did this bizarre music to this bizarre play then we went and toured it to the Adelaide Fringe Festival.” Cue is in a chipper mood down the line from Newcastle, taking time out from some touring lay days to give the low down on how The Barons Of Tang formed. “We had this venue and were living in this warehouse space where we also put on shows and ran a bar. It was all very chaotic at that time, but once we got back to Melbourne we decided to pursue the band a bit more seriously. We got a couple of other members then started gigging around and before you know it we were touring. Now The Barons Of Tang are definitely an all-consuming passion for myself and anyone who comes into contact with us. It’s definitely the forefront of most of our lives at this stage.” Cue truly loves his craft and why shouldn’t he? Putting together a chaotic blend of metal and folk with element of kosak, polka and rockabilly amongst a magnitude of other styles, the band succeed where so many others fail – they undoubtedly sound like no other. Cue explains just where the band source their wide line of inspiration. “It’s definitely a mix of past and present music,” he says. “We love a lot of traditional stuff but we also love a lot of modern and very obscure stuff. I guess the music’s very much a reflection of the musical tastes from all the different members of the band. It’s a real melting pot and that sometimes can be good and sometimes bad. We definitely wear it [our heart] on our sleeves and for the most part it works out well for us.” Like the world in general, eclectic mixes of styles, inspirations, ideas, opinions and beliefs often lead to fireworks – it’s human nature after all. Cue is honest

Pink Martini is a festive affair, alright – that’s why American coffee giant Starbucks approached Forbes and bandleader/pianist Thomas Lauderdale to record a full-length album of holiday tracks just in time for Christmas and the New Year.

t’s music of the world, but it isn’t ‘world music’. It’s the sound of the golden oldies one minute, then it’s something completely fresh and cosmopolitan the next. Only one collective can pull it off and it’s Pink Martini – the ‘little orchestra’ of Portland, Oregon. “The music sounds modern because of the way that we arrange the songs,” explains vocalist and ‘diva next door’, China Forbes. “They are contemporary in the way that they’re written and in the way that the instrumentation is set out, but I think they’re very mysterious at the same time. When you actually listen to the finished songs, I think it’s hard to tell when these songs were written – what time period. There is a timelessness about our music because we put in so much attention into creating beautiful melodies and writing romantic lyrics. In my opinion, it’s those two things that actually make a classic, timeless song. You always remember a tuneful song with a great melody and usually the words are about love lost or some romantic topic. We try very hard not to make this into something kitschy. For us it’s serious music played by serious musicians.” From jazz, blues and swing, right down to marching band, electro-pop and cabaret and lounge, the main aim here, according to Forbes, is to create music that puts a smile on the faces of all people worldwide. “People are all the same everywhere you go,” reveals Forbes. “I think the essence of all people is that they all want to be festive, they all want to be gathered together. People want to be entertained and they want to laugh and sing and dance. There are definitely some places we’ve been to where people are less demonstrative, but I think that’s less about the country in question and

The band are currently on a run of shows which coincides with The Bohemian Masquerade Ball, a cavalcade of fun billed as ‘A bi-annual boutique festival recognised as a grand carnival of neo-vaudeville culture’. “We played the first one and a whole bunch after that. The band and the festival have been growing together so it was nice entering into this tour knowing full well what to expect and how it was all going to work. We played an amazing show in Sydney a couple of days ago, it was mental, there was like 800 people, it was great fun. Essentially we work really well as a party band,” Cue continues, “which is kinda funny because it’s quite obscure music and we’re coming from a lot of different angles. But we just need to be put in front of an audience and we’ll go nuts and get everyone dancing – a good time will be had by all.”

WHO: The Barons Of Tang WHAT: Knots & Tangles (Independent) WHERE & WHEN: A&I Hall, Bangalow Friday Oct 8, Old Museum Saturday Oct 9, Caloundra Music Festival Sunday Oct 10

Having also recorded three concerts with the Oregon Symphony earlier this year, Forbes claims the band is planning to release a live orchestral album sometime in 2011. “We have a lot happening right now,” states Forbes. “It all started with France, because that’s where we first became popular so we will always be thankful to them. Everybody else caught on after them. We were new and totally independent, releasing an album [Sympathique] on our own label and the French jumped on it. Actually, that song even got featured on a commercial for Citroen cars there. Now, quite a few years later, we’re probably equally as popular in America because of that exposure we got internationally at first.” Comprising of 12 official band members, plus extra musicians as part of the live spectacular, Pink Martini truly is a little ‘orchestra’ in every sense. “Because there’s so many of us, the rehearsals are always flying by the seat of our pants,” she laughs. “We do get to rehearse, though, which we mostly get a chance to do when we’re already on the road and during soundchecks. It gets quite hard to get so many people in the same place unless you’re already touring together. But we have a group of very accomplished musicians so you never really worry.”

WHO: Pink Martini WHERE & WHEN: Caloundra

Music Festival Sunday Oct 10

FIELDS OF DREAMS

Chatting to a bubbly GEORGIA FIELDS as she trips around the Victorian highlands on her birthday, TYLER McLOUGHLAN learns that the week holds a few more exciting events for the folkish pop princess. “It was huge,” Fields says of what it meant to work with the Things of Stone and Wood frontman. “He was an important mentor as well having been on both sides of the fence. He’s had a lot of experience as a singer/songwriter and in a band as well, so I felt like he could really understand where I was coming from. He knows I have a goal to be able to be more confident self-producing, particularly a rhythm section part, so through the process he was talking me through things – it was a good collaboration.” Fields embarrassedly admits to being unacquainted with Arnold’s illustrious background, and even the song that became a household name – Happy Birthday Helen.

when he recognises the inevitability of tensions boiling over but still assures that nothing’s off limits. “It’s very hard to juggle seven opinions at any one time so the democratic process can be very long winded but we’ll try anything once. We’re trying to manage our people skills better within the band but every now and again we get fired up. I’d like to think it’s just a sign of passion and really caring about the project enough to get upset about it,” he laments. “We try and stay positive and try and stay productive most of the time.”

“We just finished making the holiday album, it’s going to be called Joy To The World,” she enthuses. “It’s an album full of songs in lots of different languages and celebrating lots of different holidays from around the world. It’s really beautiful.”

light-bulb moment in a dead-end job was the impetus Melburnian Georgia Fields needed to get serious about her creative endeavours, resulting in this week’s release of her self-titled debut album. “I went overseas and I’d sort of been working admin jobs for a while, travelling around and having fun in my early to mid 20s,” Fields explains. “I was working at this corporate firm in London – I’d been working there for a while doing reception – and one of the partners asked me to fill up the coffee machine and he forgot my name. It was this moment where I realised that I was probably going to work in admin forever if I didn’t get my shit together and start playing music again.” Though it wasn’t so much a point of being sidetracked that kept Fields from her creative pursuits, rather she hadn’t quite figured out her strengths yet. “I’d been playing music for a long time but I’d never really known in what capacity I’d wanted to do it in. I think I’d kind of been too nervous to get started.” After realising she’d been relying on the concept of not failing due to not starting, the pop chanteuseto-be promptly moved back to Melbourne to set the wheels in motion for her career. Through a music degree at NMIT, the 27 year-old worked with Greg Arnold on demos, so when it came time to find a producer for the album, he was a natural choice.

“I was in year three so I would have been eight or nine,” she says of the 1992 hit. “I haven’t really sussed out whether he thinks it’s funny and interesting that I get to see him in a completely new light and not have the baggage of previous work he’s done, or whether he’s a little offended that I don’t remember it!” With Arnold’s guidance, Fields went about creating the debut album she’d always imagined, which included incorporating orchestral elements into her guitar and keys based style of folkish pop. Now its release is just around the corner, Fields is as excited as a kid in a lolly shop. “Relief isn’t the right word, but it was just very satisfying because I’d tried to get funding and there were three grant applications and it was a long time to make, so I was just very pleased. I’m picking up copies of the actual album at the end of the week which is going to be so exciting,” she giggles before adding: “I’ll probably roll around in them!” Kicking off her national tour in Brisbane this week is equally as exciting for Fields. “This is my first proper tour, so I’m tickled pink about it. It’s going to be quite an adventure – I still don’t know how I’m getting to some of the places!”

WHO: Georgia Fields WHAT: Georgia Fields

(Popboomerang Records/MGM)

WHERE & WHEN: Burnett Lane Friday Oct 8, Brisbane Powerhouse Saturday Oct 9

r e t n u h r e e D

9: B_c_j[Z [Z_j_ed white vinyl

Halcyon Digest Features Revival and Helicopter “Gets my vote for the Best Fuzz of the Year Grammy” Preﬁx “It wouldn’t be a surprise to see this album on many critics’ best album list of 2010” Filter “Halcyon Digest is a gorgeous album” Stereogum

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“A dusky trip-hopped take on their classy late-period dream-pop” Stereogum

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“Drum-heavy, synth-ﬁlled, dreamy” Paste “Sculptors of guitar fuzz and glamorous grime” Pitchfork

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“This is an icy masterclass in how synths should sound” NME

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Pop Negro

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“Right when summer song lists need him most” Stereogum “Steel drums, soaring Spanish vocals, guitars that clang like bells: The whole thing reads like a manual on how to make music to shake your ass to” Preﬁx

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Die! Die! Die! FORM The New Zealand trio’s thunderous new album.

TOURING DECEMBER J>KHI:7O ', 8H?I87D; 9BK8>EKI;

Swans

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“Thrilling, relentless and memorable… Ten stars. A hundred stars. A shimmering, cascading universe-full.” J^[ L_d[

After a hiatus of nearly 15 years, Michael Gira reconvenes his legendary group. Guests include Devendra Banhart and Mercury Rev’s Grasshopper

Touring October 2010

“One of Swans’ best, most relentlessly dark and beautiful albums” Stereogum

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“Michael Gira and company still have it, folks” Preﬁx “Yes, it’s pretty fucking loud” F_jY^\eha “A thunderous tour de force” ++++ Mojo

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J^[ _dj_cWj[" bknkh_eki Z[Xkj WbXkc \hec B7 based one-woman orchestra, Cameron Mesirow. “Beautiful songs, sweet and abstract, deeply felt and anodyne” New York Times “Overlapping percussion, vocals, synthesizers, electronics, and a feel that’s both tropical and frozen” Stereogum “Heavy breaths, tribal percussion, children’s lullabies, ambient clouds, and ghostly echoes all bubble to the surface right on time” F_jY^\eha

9: BF

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SINGLES BY CHRIS YATES

I AM KLOOT

DEERHUNTER

MATTHEW DEAR

(EMI)

(4AD/Remote Control)

(Ghostly International)

Sky at Night

HITS/DIMI DERO INC

Gates Of Steel/Unfair Enough (Mere Noise)

Brisbane label Mere Noise bridge the worldwide divide between Brisbane and Paris on this impressive new split seven inch vinyl release. Local rock machine Hits boozily breathe life into a rendition of the Devo classic Gates Of Steel – an out-take from the recording sessions for their new album Living With You Is Killing Me. The synth line from the original is of course replaced with a lead guitar line, but otherwise it’s a surprisingly faithful rendition. Paris’ Dimi Dero Inc contribute an original number, and it’s a dirty and sleazy throbber of slow tempo murkiness which owes a debt to Australia anyway via bands like Beasts Of Bourbon and X. Only the singer’s distinct Parisian accent gives away their place of origin. Two bitching bands back to back make for a worthwhile addition to the ever growing Mere Noise catalogue of original and exciting rock’n’roll.

JAMES BLUNT Stay The Night (Atlantic Records)

Other than being passively responsible for introducing some semi-hilarious rhyming slang to the vocabulary, I can’t think of any other reason to be grateful for James Blunt’s contributions to pop culture. In this desperate plea to get laid dressed up as a love song he commits some of the worst cliché crimes known to songwriting, including a personal favourite, pronouncing ‘California’ as ‘Californ-Eye-Ay’. Tragic references to Michael Jackson’s Billy Jean and Bob Marley’s Is This Love only amplify the flimsy premise of this potential condom jingle and push it well into the realm of self parody. Sure to be massive on in-flight entertainment around the world, it probably already is.

I Am Kloot have always had a tendency to sing about the deep stuff, and Sky at Night is no exception. This album – the fifth in their catalogue – uses the night sky as a symbol for mortality, vulnerability and the confusion of the human condition. It might not earn Kloot the mainstream recognition that has eluded them over their ten-year career, but it should. Officially a Manchester three-piece, Kloot utilise a variety of guest musicians on this record, incorporating violins, cellos, harps and trumpets into their melancholy folk songs. Elbow frontman Guy Garvey co-produces and contributes string arrangements, lending a somewhat Elbow-ish quality to many of the tracks. Don’t expect big pop hooks or party anthems. Sky at Night is all about quiet, pensive melodies overlaid with gorgeous orchestral flourishes. It’s also intentionally mixed at a quieter volume, as though the band specifically wanted you to listen and reflect upon it in private. Frontman John Bramwell’s lyrics cover topics such as loneliness, regret, mental illness (“lately it’s been a struggle to make up what is left of my mind”), social isolation (“you’re the guy on the bus who’s not quite one of us, you hear laughter”) and drinking. Highlights include the meditative, six-minute Radiation and the haunting The Moon is a Blind Eye, which reflects on astronomy’s failure to solve our human dilemmas before concluding that “to be loved is divine”. This album has a couple of weak points. The meandering, slightly dull ballad Lately has a Beatlesque sound, but it’s definitely no Yesterday. But overall, this is a subtle and heart-tugging record. Now that Elbow’s The Seldom Seen Kid has seen another underrated British band get some recognition, maybe it’s I Am Kloot’s time to shine. ★★★★½ Daniel Wynne

Halcyon Digest

Once upon a time, Deerhunter were four guys who blissed out on the edifice of Kevin Shields’ psych-pop. They made their name on such things, turning it into albums like 2008’s Microcastle. While echoes of that once vibrant, fuzz-filled exploration still exists here, the haze has definitely lifted from this band, their dreamy-pop still the driving force of these 11 songs, only now with a drier sound comes a potentially less interesting band. In 2010, Deerhunter are simply a folk-infused pop band that plink and plonk along, the dreary drawl of Bradford Cox quizzical at best. Sure, there’s a myriad of teeny, tiny embellishments, counter-melodies and sounds from the watery droplets that drip from Helicopter and the rude interruption of saxophone in Coronado, but there’s little point swelling the periphery of your music when the main melodies are lacklustre at best and uninspired as is the case far too often here. Possibly Halycon Digest, as the title suggests, is in fact denoting a period of time in the past that was idyllically happy and peaceful for these four fellows. It would make sense, seeing as the mood here is more carefree than the palette of sounds on offer. In the first half of the album, the taste-test of 60s pop and garage doesn’t last long enough to flourish. Eventually though a vibrance, like thin summer sunbeams, shines through as the album comes into its final chapters. Somehow it makes more sense to look at this album as the shedding of the band’s skin – one they grew into over their first few albums and have now outgrown and cast aside with these 50 minutes of music. Fingers crossed, they can flesh out the skeleton re-started here and hopefully bring it to blossom again. ★★★ Alex Gillies

Black City

Increasingly over the past decade, US techno don Matthew Dear has been moving away from his genre of origin and into the realms of impeccably produced and aesthetically pleasant indie-pop. While there has been nothing patently wrong with such a development (one certainly can’t fault exceptional records like 2007’s Asa Breed), it is nevertheless a delight to see the producer complicating the formula somewhat with the textured and sinister impressionism of Black City. Far less predictable than any of his previous efforts as a songwriter, Black City finds Dear challenging himself from both a production and a songwriting standpoint while still retaining the accessibility that initially endeared non-techno audiences to his work on 2003’s breakthrough Leave Luck to Heaven debut. Where Dear’s previous efforts were delicate and direct in their construction, Black City is comparatively murky and wild (though it is still quite precise in its own fashion). Honey is the ideal introduction to record’s noir-ish aesthetic; solitary bass notes and simplistic cymbal patterns anchoring an ocean of droning vocals, glitch loops and ominous textures as listeners are welcomed into Dear’s world. Throughout the record, the producer remixes this basic aesthetic into a myriad of equally compelling but subtly varied configurations – from the nine-minute percussion showcase that is Little People (Black City) to the amorphous textures of Shortwave. Experimental and exciting while still professional and polished, the record feels very much like an awakening for Matthew Dear. It would seem, after exploring the fundamentals of his style with Asa Breed, the producer is now confident to really confront and manipulate convention and expectations. Obviously, this kind of behaviour occasionally makes the producer’s latest release a tad indulgent but, taken as a whole, Black City is a genuinely compelling release. ★★★★ Matt O’Neill

VAMPIRE WEEKEND White Sky (Inertia)

The Vampire Weekends do their best Paul Simon impersonation on White Sky, disguising comfortable middle of the road pop as quirky indie anthems for kids to lose their virginity to in tents at festivals. The single is loaded up with remixes by Basement Jaxx to ‘add value’ and the main version takes it into their familiar commercial electro house land of synths and it feels like the pill just kicked in. Cleverly they lower the volume of the atrociously annoying wail that substitutes for a chorus in the original mix which helps things out somewhat. The other two dub remixes are pulled back variations on the same theme, with extra elements of weirdness thrown in for different stages of the night when the drugs are really doing their magic.

BRANDON FLOWERS Only The Young (Universal)

Flowers launches his inevitable solo career with Only The Young, weaving well rehearsed themes of being young and free and breaking away and being in sunshine and feeling awesome, peppered with vague Christian imagery all doused in the sugary syrup of a million great pop moments before it. Like all his work with The Killers, the calculated and conniving attempts to whisk you away into a world of starry-eyed wonder somehow manage to hit the mark effortlessly and melt every bit of cynicism I normally reserve for this sort of contrived emotional terrorism and I just listened to it like eight times. If I’m drunk enough next time I hear it I’m sure I’ll cry, and then have to deal with that on top of all my usual hangover remorse the next morning. Fuck you Flowers, you beautiful jerk.

KES TRIO

Black Brown Green Grey White (Mistletone)

The music of Kes twists and turns and has done so in beautifully psychedelic ways for four albums now – blossoming from one man and his guitar to full luscious pop melodrama, all the while infusing his unique falsetto to part the clouds and let the sun shine through his songs and us alike. However Kes’s fifth album, here in trio form, has not simply embraced the pink elephants of Syd Barrett’s damaged music, but also a heady amount of Norwegian Wood perplexity. From the opening shards of the album’s title track, Kes chops at his axe, splintering off hollow and tormented sounds from its strings. What starts off as a decidedly ugly pop freakout finds its feet with Wise Eyes and The Alarm Clock, but the Melbourne swamp psychosis that first inhabited Kes in his distant Sea Scouts days seems to have forcefully returned here to play havoc. Kes has always been an undeniably great musician with a real unique and fractured pop sound. So while this album revels in being something quite different, it’s easily just as entertaining as his past efforts – maybe not as alluring, but full of drama. This is reinforced by the crystalline sheets of guitar that shatter like a storm front coming in off the coast throughout Won Seventeen, with protection from the darkened skies finally found in the warm burrow of Living Underground and the kaleidoscopic soup of Thieves Beat. Karl Scullin has never made the same album twice, each new chapter further enriching his unique dreampop reality. Black Brown Green Grey White is definitely a weird trip and a captivating one that has the bold imagination of a child’s crayon drawing underpinning the detailed calamity of a Salvador Dali painting. ★★★★ Alex Gillies

PHILIP SELWAY Familial

(Bella Union/Shock)

It’s hard not to take this album contextually. Yes, Phil is a member of Radiohead. And yes, Phil’s a drummer. But to expect anything from these two statements is paying Phil a huge dishonour. He’s banded together a rather formidable group of troubadours (including Glenn Kotche and Pat Sansone from Wilco) and has released an intimate and delicate folk album which sees him down his sticks and pick up a guitar and take to the fore. Following on from the success The Ties That Bind Us and The Witching Hour had on Neil Finn’s 7 Worlds Collide venture, Selway has been encouraged to go that next step. This encouragement was not misguided as Selway has a knack for composing simple and effective melodies and lyrics. Familial isn’t going to win any awards but it’s a good solid effort with songs like Broken Promises and Patron Saint offering some nice insights into the man. Of his forbearers Selway leans most on Nick Drake as a template. He structures songs routinely and arranges them softly leaving the once loved drum-kit as a mere background murmur. His vocals, like the album itself, are understated and match the albums mood resoundingly. The problem however is that there is not much variety. The whole album seems quite flat and could have done with some extra flourishes here or there. Selway’s modesty works best on By Some Miracle where he’s giving thanks for what he’s achieved in a humble and endearing manner. Musically there isn’t much to differentiate one track from the next with Selway on vocals and guitar throughout while others come and go briefly to add a little here or there. Familial is a welcome addition to the Radiohead legend but as a standalone folk project it’s too linear to be considered ground-breaking. ★★★ Barrie Morgan

BAD RELIGION

The Dissent Of Man (Epitaph/Shock)

The thinking man’s punk band, Bad Religion have stuck to their guns through line-up changes and trends coming and going within their scene. But where their peers have fallen by the wayside, lost sight of their direction or just sold out, this Southern Californian institution is still raising awareness regarding the world around us whilst continually bringing the BPMs at a relentless pace. The band have kept the same line-up since guitarist Brett Gurewitz’s return from his Epitaph label head duties and drummer Brooks Wackerman came into the fold prior to their ’02 return to form The Process Of Belief. It’s this cohesiveness that shines across The Dissent Of Man, the band at strangulation point in just how airtight the tracks are performed and produced. With 15 tracks making up the album, it’s a given there are a few featherweights that can’t quite punch like the rest. Won’t Somebody is a poke at religion without the balls of the precedent while Someone to Believe lacks that clinical guitar lick or pulsing bass line that gives it that extra spark. But these moments are minimal and quickly swallowed by the glut of quality Bad Religion here. The Day That the Earth Stalled is as good an opener as the band have provided while Meeting of the Minds and Wrong Way Kids sees Gurewitz blasting efficiently tight and slicing riffs. But this album is the Greg Graffin show, his vocals at their pinnacle and continually giving the songs life, colour and passion. No university professor has rocked so hard. Sure, The Dissent Of Man isn’t covering any new ground but when has any Bad Religion album in the past 20 years done so? Fifteen albums and three decades into the game, these men have nothing left to prove. ★★★½ Benny Doyle

TAKING BACK SUNDAY

GREAT EARTHQUAKE

THE BROTHERS MOVEMENT

JIMMY EAT WORLD

(Warner)

(Sensory Projects)

(Rocket Girl)

(Universal)

Live From Orensanz

Ignore the imagery a Taking Back Sunday acoustic live album might conjure, forget the number of times you’ve insisted that it was in fact Sunny Day Real Estate and not TBS that ignited your obsession with moody, dramatic rock music; pretend you haven’t relegated the bands’ back catalogue to the “guilty pleasure” section of your ITunes library, and just accept that Live From Orensanz is a damn fine recording. With a track-listing that reads like a best-of album … Orensanz openers are the necessarily pared-back MakeDamnSure and New Again. It’s a risk to start with two tracks that originally relied on a whole lot of guitar noise to keep the pace up; even more so considering that heavier songs have a tendency to sound like down-tempo afterthoughts when recorded live and (semi) acoustic. TBS somehow manage to avoid this on both tracks keeping up the urgency, and demonstrating – probably more thoroughly than the original recordings – the complementary dual vocals of Lazzara and now ex-member Matt Fazzi. Older tracks A Decade Under the Influence and Set Phasers to Stun see the band getting a bit more experimental with the inclusion of a small string section on the former and a dubiously successful audience-driven introduction on the latter. Closing track Cute Without the ‘E’ showcases the band in all their sing-along-inducing glory; it’s so irrepressible for TBS fans many a jaw will be clenched to avoid embarrassing public outbursts. There’s nothing new here, so as a recording it’s unlikely to win over any new fans – but that’s really not the point of live albums anyway. As a confirmation that TBS are one of the few bands of their genre that have actually earned their special place in your heart …Orensanz is a winner. ★★★½ Helen Stringer

Drawings

Upon conclusion of the first listen of Drawings, the debut full-length from Melbourne-based multi-instrumentalist Noah Symons, aka Great Earthquake, there are two words which come immediately to mind: hell yes. After the second listen, the words are still there, but this time you’ll probably throw a curse word in for added effect, simply out of disbelief at how good this is. Cowbell and syncopated drums – mixed through one channel as lush, clean guitar flows through the other – introduce you to the world of Great Earthquake in the opening seconds of first track Clap! Clap! (which, yes, has claps; love claps so much), before being overtaken by breathy-sounding accordion, atypical and disjointed bass, xylophone, and all manner of other aural delights. Guest vocalist and fellow Melburnian muso Maudita provides gorgeous little-girl style vocals on both Words and Images and Fully Formed. The tracks provide a timed-just-right break from solid instrumentalism, before nine-minute epic Different Orders, with delicious peaks and troughs, and idiosyncratic, uplifting closer 1step. 2step. Stop! round things out in a way that almost demands the rolling of credits. Indeed, the whole package delivers an inarguably cinematic quality, as though you could be watching a French independent film; but even without pictures, the respectively five, six-and-a-half, and nearly-eight minute long wait think, from memory, and create all shine as a result of Symons’ thoughtful use of soundscape. Notably, his use of panning is dextrous and incredibly effective – seriously, listening to this CD through headphones is an experience unto itself. Regardless of how you take it in, though, the message remains the same: hell fucking yes. ★★★★ ½ Mitch Knox

The Brothers Movement

The eponymous debut album from Dublin indie swaggerers The Brothers Movement is their first since forming in 2007. It’s taken a few years for them to establish themselves on the circuit, supporting bands like MC5, Doves and Jesus & The Mary Chain along the way but never really building up enough steam to dent the ever expanding world of indie rock and roll. This is their effort then to break through, become accepted as serious contenders, and to be honest they’ve given it a bloody good go. The band’s ability to build atmospheric, layered tracks is evident from the start as they roll into ‘Blind’. It’s clear then why they’ve been likened to bands like The Verve and Oasis. But are we due a Britpop revival? Much of the last ten years have been used to progress modern indie music away from that era and although The Brothers Movement add some modernity to the proceedings it can’t help but feel a little re-hashed. Second single ‘Sister’ is harmonious and tranquil and subtly nods to Britpop on its way past. ‘War And Peace’ is a grand outing, building from the get go and climaxing in a mash up of sky-rocketing guitars, militaristic drumming and sweeping strings. So yes, some of it does sound a little dry but the execution is so good here it’ll serve only to make you embrace the past. Plus, The Brothers Movement are Irish so calling them modern Britpop is a risky business.

Invented

Some bands seem to be under the mistaken impression that “progress” is a synonym for “reinvention”. Fearful of being dismissed as one trick ponies, genres are appropriated and disposed of with each successive release. Thankfully, Jimmy Eat World is not such a band; it’s a good thing considering there are few that can pull off a heartfelt, narrative-driven rock ballad better. On Invented, Jimmy Eat World have stuck to what they do best, only this time they’ve decided to do it better. Opener Heart is Hard to Find is a rollicking, hand-clapfilled affair with a melody so deliciously catchy it’s a disappointment that it ends after only three minutes. If the acoustic guitars and hand-clapping evoke a sinking suspicion that Invented might be Jimmy Eat World doing folk-rock subsequent tracks My Best Theory, Evidence and High Devotion have the guitars plugged back in for a three-track run of single-ready tunes. Scattered amongst the big-guitar hooks and singalong choruses are just the right number of downtempo acoustic tunes that persistently tug at the heart-strings. In this vein title track Invented runs for what could be an excessive seven minutes but it’s punctuated with a crescendo so wellexecuted it’s worth sticking it out to the end.

With the entire album being created and nurtured by multi-instrumentalist Danda (vocals, guitars, drums, keys, bass) it really is his brainchild yet he has since moved on to rival band Sweet Jane. The sudden departure of the driving force of the album is worrying for future adventures but for now, what he has left is a nice, gently anthemic, confident debut that, despite its limitations, should put the Irish outfit on the indie radar. And ‘bout time too.

The lyrical ground is familiar for singer Jim Adkins but if you’re going to jump into a wasteland of broken and breaking hearts you might as well get stuck there with someone who still believes they can find a way out. Invented isn’t a trail-blazing new direction for Jimmy Eat World, but nor is it a second-rate rehash of previous releases; Jimmy Eat World have grown up enough to realise progress requires improvement not reinvention.

★★★ ½ Barrie Morgan

★★★ ½ Helen Stringer

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OLD MAN RIVER

GAMMA RAY

TRICKY

SHIHAD

(Stop Start/EMI)

(Riot/Warner)

(Domino/EMI)

(Roadrunner/Warner)

If music had a smell, Trust would waft through your nasal cavities like the burning incense and sweet aromatherapy oil of your wild haired yoga teacher. It fills your senses to the brim with nostalgia of times never had in exotic faraway lands. Ultimately, it is a dream travel memoir. Each song off Old Man River’s delayed second album is a celebration of cultural diversity and traveling’s emotional journeys. Now entirely the solo project of Sydney based musician Ohad Rein, he went so far as to record the album in diverse locations such as Mumbai, Israel and Bondi Beach. You can feel the sounds of these countries echoing in each track, with album opener In This World casting a meditative spell through rhythmic Indian chimes. In seems like Rein’s using love as a muse more heavily than ever before. Songs like You And Me and Our Love Will Win indicate he’s fallen, hard. As his delicate and effortless vocals reminisce of moments frozen in time with somebody special, it’s easy to be smitten by his emotions. Tracks like India, Religion and Shanti Aaye showcase a penchant for the unique pop that he achieves through a large variety of instruments, 15 to be exact. They have the vibe of The Beatles and Bob Dylan but unmistakably carry Rein’s personal idiosyncrasy. Raw and reflective of its surroundings, it’s a direct result of Rein’s experiences and carries in it the excitement of becoming a new parent, the sadness of losing band members and the intoxicating bliss of exploring foreign lands. It radiates sing-a-long rock happiness and isn’t bound to culture or nationality. ★★★★ Caroline Savransky

To The Metal!

On the whole, power metal is a genre that rarely seeks to break the well-established mould. This is a claim you could make about several sub-genres of heavy music, but the plethora of acts so closely following the blueprint is that prevalent it can be difficult to ignore. That said, surely fans can rely on German veterans and pioneering exponents Gamma Ray to deliver? Well, somewhat. To The Metal! is about as predictably performed and structured as one could expect, which will satisfy devotees but infuriate anyone seeking something possessing a modicum of fresh ideas. The title track typifies much of the record’s shortcomings; about as blatant a musical theft as you’ll encounter (let’s just say that Judas Priest’s legal team are likely filing paperwork as you read this), it lacks any real inspiration. So follows the majority of the record, which borrows liberally – often too much so – from the Priest and Iron Maiden (see Rise especially) catalogues. All the elements are there and executed skillfully enough; Kai Hansen’s soaring, Halford-esque vocal melodies, fret-melting solos, choirs, swathes of keyboards, a few saccharine pseudo-ballads, a couple of thrashers and even a guest appearance from ex-Helloween frontman Michael Kiske on somewhat catchy All You Need To Know. The album does present moments of fire and energy (the urgency of Chasing Shadows being one example), but is frequently formulaic to the point of annoyance. The self-referential nature of power metal is often very much the point, and in selected instances, one of its endearing qualities. That said, surely it isn’t over-stepping the mark to expect a band once so vital to not be this derivative and pedestrian? ★★ ½ Brendan Crabb

Mixed Race Kicking off proceedings, Every Day could well open up Mixed Race to be a David Essex Rock On-like stomp, complete with bluesy harmonica, though instead takes an immediate left turn into a less-abrasive version of Jamaican Terry Lynn’s high-adrenalin ghetto ode Kingston Logic. The left turn formula is employed after each track of Tricky’s ninth studio album, taking in the musical sceneries of jazz, electro, rap, reggae and disco to name a few – all day could be spent analysing just the intricate genre influences on offer. Amongst all this there are still music box melodies, sound effects, horns, Semitic language and Bobby Gillespie guest vocals to be processed. Murder Weapon is the album’s lead track featuring Tricky’s touring backing vocalist Franky Riley; a lazy horn-tinged reworking of an Echo Minott Jamaican classic which grooves up the underlying Peter Gunn Theme in almost a comical manner, such is the novelty factor. Riley shines when given room to move on the darkly orchestral Ghetto Stars which lyrically channels Tricky’s troubled past whilst beautifully course guitar tones permeate her space to great effect. Clocking in at just under 30 minutes, Mixed Race is short in length, though certainly not in ambition. Always a big believer in his own ability to mess with musical style guides and trip-hop over genre fences, it is a tall order to try and connect the dots of both Tricky’s career and the ten tracks on Mixed Race. Combined with his penchant for guest vocalists and collaborations, Tricky was in a good position to turn this into a rainbow paddle-pop spew of an album, though somehow there is enough of him present, perhaps in his producer role, to avoid such unpleasant results. ★★★ ½ Tyler McLoughlan

Ignite

2010 has been an interesting year for Shihad. On the one hand, the band is commemorating their two seminal albums Killjoy and 1999’s masterpiece The General Electric, but they are also moving forward, releasing their eighth album entitled Ignite. The album sticks firmly to the Shihad trend of exploring a new sound with every release which has been the cornerstone to their success and is why they are years ahead of similar peers in their genre. The riffs have more kick, the drums have more resonance and the bass has a shattering bottom-end. Despite the slick and polish it’s still Shihad. The New Zealand quartet has never been a band to stick to the one formula. Each release sees the band reinventing themselves. They have departed from their electronic sounds heard on Beautiful Machine, returning to their traditional sound found on earlier releases. Though the electronic influence is still there on tracks like Engage and lead single Sleepeater, they serve their purpose greater as backing counter-melodies to the furious modern crunch. Final Year of the Universe seems a strange choice for an opener with its drawn out and expansive length, but the earth-shattering climax proves that it works suitably. The syncopation and stop-start timing of I’m a Void shows that the band can also infuse more complicated techniques into their infectious hooks. Though Ignite might not seem as immediate as previous releases, a few spins will reveal the album’s grandeur. The more times this album is played, the more the craftsmanship of Shihad truly shines. Extra guitar parts that were missed or the glitches and beeps of electronic sections which passed unbeknownst will shine through. Have Shihad outdone their earlier classics? Maybe not, but they’re pretty damn close. ★★★★ Scott Thomspon

N CO IO

ILAT

ROBYN

Body Talk Pt. 2

(Modular/Universal)

The second dance floor gem that Swedish pop star Robyn has dropped this year, Body Talk Pt.2 is much more consistent than Pt.1, June’s first instalment of the triptych she has planned for this year – the flurry making up for the five years Robyn has spent plugging Robyn, an album that took several years to break in America. Mostly written by Robyn and her regular collaborator Klas Ahlund, Pt.2 has been made for the clubs. The beats are crisp and hypnotic and have clearly been designed for sound systems that pump music out at decibel levels far exceeding what’s healthy. Love Kills, in particular, is just one track begging for a hardcore remix makeover. Indestructible is the one exception to this dance pop collection – a gloriously melancholic attempt at finding true love. The strings are just heartbreaking enough to suggest that being indestructible won’t be enough to keep this love alive. And considering Hang With Me’s upgrade from acoustic on Pt.1 to full dancefloor killer on Pt.2, here’s hoping the same is done for this track for Body Talk Pt.3. With its upgrade Hang With Me has become the kind of song that should take pride of place on the summer hit list. Almost perfect pop, the tension that builds up over the verses bursts into a sparkling melody in the chorus and contrasts sharply with Robyn’s plea not to “fall recklessly, headlessly in love with me”. She may never generate the kind of buzz enjoyed by her American counterparts, but this album more than matches her contemporaries for sheer pop joy. ★★★ ½ Danielle O’Donohue

ENRIQUE IGLESIAS Euphoria

(Polydor/Universal)

While guest appearances on television comedies Two And A Half Men and How I Met Your Mother have ensured he hasn’t completely slipped off the radar, it has otherwise been a quiet three years for Spanish crooner Enrique Iglesias. Studio album number nine, Euphoria follows on from the singer’s 2007 foray into club and hip hop (Insomniac), greeting listeners with a revitalised and further diversified Iglesias sound. Just as Insomniac delivered collaborations with of-themoment hit makers Lil Wayne, Kelis and Armand Van Helden, Euphoria sees Iglesias joining forces with a fresh crop of vocal and producing talents including Pitbull, Akon, Usher and the Pussycat Dolls’ Nicole Scherzinger. Opener I Like It is without doubt the most danceorientated tune on offer. Bounding to album forefront with a spray of synth and Auto-Tune, the track twists the unmistakeable lyrical flings of U.S. rapper Pitbull around a recollection of Lionel Richie’s 1983 single All Night Long (All Night). The cameo from Richie himself makes for the second creative affair with Iglesias, picking up where the pair left off with 2002 duet To Love A Woman. Unashamedly outlandish and plastic, the song finds success in its pursuit of the international dancefloor’s most current Guetta-will.i.am fashioned production sounds. From this point the record takes a welcome step back, in the process finding a handful of honest, even memorable pop ditties. Although comparatively bare alongside its neighbouring tracks, the seductive Heartbeat blends schmaltz and dance to effective measure, with 90s Eurobeat at its core. Meanwhile, Spanish-language ballad Cuando Me Enamoro matches Iglesias with Dominican songwriter Juan Luis Guerra to deliver a tight package of lusty Latin sonic grabs. On the whole, Euphoria lacks the punch that Iglesias’ career appears to be yearning for. Nonetheless, the album has its merits, specifically during the closing, more considered stages. ★★★ Carlin Beattie

N CO IO

Trust

SONIC SYNDICATE We Rule The Night (Nuclear Blast/Riot)

It’s a sad state of affairs when you have the platform to create something that will be listened to by thousands yet you decide to stick to the outdated style desperately coined by poor artists like Trapt and Dark New Day. Oh, and don’t forget this is a Killswitch ‘classic’ era record so make sure items are listed in accordance to scream/ melody/scream. Falling thoroughly short in the first 15 seconds, Beauty And The Freak presents a shallow structure that is complimented by hollow story telling. Time and again lyrical cliches shock the intelligence, Burn This City preaching “I’ll sleep when I’m dead”, while the flimsy line of Turn It Up generates the kind of sickness that refuses to be swallowed with “Turning up like you always do, covered in tattoos.” The Swedish origin and diverse make-up of this band including dual vocalists, dual guitarists, bassist and drummer, suggest this project should be capable of providing a captivating experience. On the complete contrary, Miles Apart and My Own Life truly scrape the bottom of the barrel. After eight years and a healthy exposure to the current pioneers of music in Northern Europe and beyond, this family based six-piece refuse to absorb any positive influences to create their own individual sound. The evidence of this continues with Leave Me Alone and Break of Day, both passing with zero impact. Title track We Rule The Night, kicks off in line with a shell suit dance track before launching into film score melodic hell – the cut and paste screaming refusing to excuse this kind of behaviour. Obliterating the already smudged line between alternative and pop, Sonic Syndicate have been caught mainstreaming ‘metal’ once again. ★ Kenada Quinlan

SOUNDGARDEN Telephantasm (A&M/Universal)

Firstly, if this is to be of any use to anyone calling themselves a Soundgarden fan, then be sure to indulge in the deluxe double CD/triple vinyl version of this strange release. Anyone unfortunate enough to be saddled with this standard 12-song artefact otherwise known as a best-of will be left scratching their head as to what all the fuss was about. Sure, this compilation is made up of mostly singles but it has very few of their “best” songs on it, with the showcased early numbers and some limp later ones not indicative of this band’s strengths – for example, where the friggin’ hell is Jesus Christ Pose? Along with Nirvana and Pearl Jam, Soundgarden made up the holy trinity of grunge. Now, grunge was good, and it was a worthwhile musical movement that washed away the pap of the 80s and gave us our guitars back. Nirvana might have brought the melody and the feedback, but Soundgarden were responsible for taking the dirge and the riffs of Sabbath-era rock and placing them into the world’s Top 40 charts – to this day their greatest gift. Chris Cornell has this past decade shown himself to be a singer of questionable quality, but history needs to refocus the light onto guitarist Kim Thayil. His guitar here bridges the pummelling riffs of underground rock from the 60s onwards with the convergence of modern metal’s tight, choppy punch. Kim Thayil is also the only part of Soundgarden that doesn’t sound horribly dated today! Lastly, if you can’t make it past the horrible artwork, then there’s a much better version of it adorning the sleeve of the recent album from the band Shrinebuilder – the band Soundgarden should have become. Save your money and don’t spend it on the past unless you’re buying Badmotorfinger! Alex Gillies

HUGE PRIZES TO BE WON!

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frontrow@timeoff.com.au

EIKE KOENIG ANNOUNCED FOR DESIGN WEEK

QUOTE

The final speakers have been announced for Optimism: Icograda Design Week, which is happening in Brisbane Monday Oct 11 to Sunday Oct 17 and brings together 14 creative thinkers from across the globe, including designer Eike Koenig, author Steven Heller, and Paul Hughes from Lava design agency in Amsterdam. In addition, there with be a host of events including exhibitions, film screenings (including Typeface), studio tours, and more. Full information about Icograda is here: icograda.org; Design Week info can be found at designweekbrisbane.com.

FILM

“ACTING IS LIKE CRIME. BUT INSTEAD OF USING GUNS OR CLUBS, I ASSAULT YOU WITH EMOTIONS.”

EAT PRAY LOVE

KYLE BRADWAY (PLAYED BY RYAN HANSEN, CENTRE) OFFERS SOME ADVICE TO RUSSIAN MOBSTERS IN PARTY DOWN.

THIS WEEK IN WEDNESDAY 6 James Bond double – your last chance to catch two James Bond classics, From Russia With Love (1963) and On Her Majesty’s Secret Service (1969), together on the big screen (at least for a while). Tribal Theatre, 6pm. Of The Night – group exhibition featuring the graphic novel-inspired artwork of Daniel Watts and Damian Smith celebrating things that go bump in the night. Closing day. Bleeding Heart Gallery until Wednesday Oct 6. These Artists – exhibition of portraits of tattoo artists by photographer Nicole Reed, marking her debut solo show. Opening night, 7pm. Seventh Circle Studios.

THURSDAY 7 Richard III – Queensland Shakespeare Ensemble’s production of the Shakespeare tragedy Richard III. Opening night, 7:30pm. The Amphitheatre, Roma Street Parkland until Sunday Oct 31. Tinsmith: An Ordinary Romance – exhibition by Brisbane designer Barbara Heath exploring the forgotten history of tinsmithing in South East Queensland. Opening night, 6pm. Artisan until Saturday Nov 13. Women Of Letters – evening of prose and letter writing from creative female raconteurs and writers such as Michelle Law, Rowena Grant-Frost, Joanna Nilson, Lindy Morrison, and Melinda Buttle, curated by First Tuesday Book Club co-host Marieke Hardy and author Michaela Maguire. An incredibly popular event in Melbourne, this will be the first Brisbane event. Bring a pen and an introspective mind. Sky Room, 6pm.

FRIDAY 8 Kristian Fletcher’s Cult Classic Fridays – sci-fi double billing of The Day The Earth Stood Still (1951) and Alien (1979). Two classics for very different reasons. Tribal Theatre, 6:30pm.

SATURDAY 9 Much Ado About Nothing – final day of director Jennifer Saunders production of Shakespeare’s comedy

ARTS

JAMES BOND DOUBLE

Much Ado About Nothing, starring QUT second year acting students. The Loft, QUT Creative Industries Precinct, 7:30pm. Red Sky Morning – one of the highlights of the past few years in Melbourne, Red Stitch Actors Theatre travel to Brisbane with their production of Tom Holloway’s Red Sky Morning, involving a family and their need to connect told across the course of a day. Closing night. Judith Wright Centre.

Movie adaptations of popular books can be such tricky beasts. Director Ryan Murphy managed to make the strange and provocative Running With Scissors just so-so, and now he’s taken the phenomenally successful Eat Pray Love and made it merely pleasant. Of course, having Julia Roberts flash those pearly whites throughout doesn’t hurt, but as someone who read the book under sufferance for a book group and actually loved it, I found the movie to be rather underwhelming. Elizabeth Gilbert wrote the book after she threw in her marriage (she was suffering from depression, which isn’t even touched on in the film) and felt the need to go on a journey of self-discovery. The clever thing talked her publisher into advancing her

SUNDAY 10

REVIEW

GWEN IN PURGATORY Roundhouse Theatre This co-production from Sydney’s Company B and La Boite opens with a barrage of perfectly-timed physical comedy; the elderly but independent matriarch Gwen (Melissa Jaffer) has just moved into a new house on the edge of Queanbeyan, but hasn’t quite got the hang of her home yet. Even simply answering the phone is an arduous task for her (yet hilarious for us) as she shambles around her new living room, surrounded by cardboard boxes.

REVIEW

EAT PRAY LOVE

THEATRE

enough money to fund a year-long trip, with her destinations in which she’d respectively eat, pray, and love (although she didn’t predict the last one) being Italy, India, and Bali. Yes, it sounds indulgent and annoyingly ‘new agey’ but it was a pleasurable read and was embraced by women all over the globe after Oprah told them to go out and buy it. The trouble is that it was very much an internal journey and that’s hard to get across on the screen…hence the use of a lot of voiceover. The acting is fine by Roberts and Billy Crudup, James Franco, and Javier Bardem as the men in Liz’s life, but Richard Jenkins is the stand-out as an initially brash American she encounters while staying in an Indian ashram. WHERE & WHEN: Screening in cinemas now VICKI ENGLUND

Gwen In Purgatory is really all about family relationships, and Gwen’s extended family are so well-drawn by playwright Tommy Murphy that you’ll feel you’ve known them all your life – probably because you do. Turning up to Gwen’s place are grandson Daniel, the self-confessed ‘black sheep’ of the family; daughter Peg (Sue Ingleton) a relentless fusspot about to boil over; and son Laurie (Grant Dodwell), an instantly odious businessman. Observed by Pacharo Mzembe’s smiling Kenyan priest Father Ezekiel, the family probe the chinks in each other’s armour as only blood relatives can, while struggling to retain some semblance of control over their own lives. Gwen In Purgatory succeeds because as outrageously funny as it may be, it’s real. Ninety per cent of the laughs stem from the fact that we’ve been in or perilously close to a situation not unlike the one unfolding in this suburban living room. Murphy is clearly a keen observer of family power struggles, and director Neil Armfield, with the help of a cast without one weak link, has translated this with ease to the stage. Until Sunday Oct 24 BAZ McALISTER

Unlimited: Designing For The Asia Pacific – international event promoting “the value of design thinking” in helping shape the AsiaPacific region’s future. Final day. See unlimitedap.com for details.

LIGHTING THE BLACK SPEECH

Mad Dogs, Part Two – “Just because you’re paranoid, doesn’t mean they’re after you. The strange and terrible saga of the mad dogs.” Exhibition of works by Gold Coast mixed media artist Sam Smith (watch trailer at vimeo.com/15042078). Closing day. Nine Lives.

A HARROWING CHARTING OF NORWAY’S BLACK METAL ORIGINS, UNTIL THE LIGHT TAKES US DOES MORE THAN SYMPATHISE WITH MURDERERS AND CHURCH BURNERS, WRITES SCOTT FITZSIMONS.

ONGOING Douglas Kirkland: A Life In Pictures – major exhibition of works by photographer Douglas Kirkland, from Audrey Hepburn to Michael Jackson, as published in Life and Vanity Fair. GoMA until Sunday Oct 24. Gwen In Purgatory – co-production between La Boite and Sydney’s Company B (who’s outgoing artistic director Neil Armfield here directs) about a 90-year-old woman who wakes up in purgatory – a new house. Roundhouse Theatre until Sunday Oct 24. I am the kind of person you should choose to have with you. You are the kind of person I choose to have with me - exhibition of digital video projections and performance from Brisbane-based artists Catherine Sagin and Kate Woodcroft. Museum of Brisbane until Sunday Nov 14. Tripod vs The Dragon – lovable musical comedians return to Brisbane with a Dungeons & Dragons inspired show, featuring fourth member Elana Stone. Powerhouse Theatre until Sunday Oct 17.

ssociated with inter-band murders, church burnings, and apparent nihilism, to an outsider it’s easy to understand why Norwegian black metal has a negative image in the wider community. The larger than life characters – particluarly Burzum’s Varg Vikernes AKA Count Grishnackh – make the whole movement seem like a farce at times, something that crazy Nordics do when they’re bored with melting snow. But for those involved it was very real, and for the first time a documentary Until The Light Takes Us, from the Aaron Aites and Audrey Ewell co-director/producer team, tells the story from the views of Vikernes and other major player, Darkthrone’s Gylve ‘Fenriz” Nagell. However Aites and Ewell have their own agenda through the process, using the case as a vehicle to express their own thoughts on post-modern concepts. “You can really clearly see in the story of black metal a textbook case of simulation and simulacra,” Ewell says, “which is the process of the original being processed so many

times that it’s a photocopy that’s agreed each time, but the more copies you make the more degraded the later copies. “We show you the origins of the scene and we show that being misinterpreted by media. And then we show the second waves of bands who took the misinterpretations at face value and created that reality. We also show in the film how that has continued to evolve and the truth of it has changed, we show these various artists working with ideas of black metal and now you have black metal as high art. And then of course there’s us, the American documentary team.” “Which we show in the first scene,” Aites adds, acknowledging their part in the process. “You see me behind the camera and Audrey micing up.” It’s still a film about black metal, but it’s necessary to highlight the director’s intentions to avoid drawing the conclusions that they’re dictated by the characters, who paint an inside picture of the movement. It’s a great story, superbly soundtracked, often unnerving. When Vikernes

details how he murdered oncefriend Euronymous of Mayhem (he’s interviewed in jail, where he’s had the time to develop his strain of neoNazism), it’s fascinating. “Initially he wasn’t interested,” says Aites, “it took eight months of writing back and forth to even get to meet with him, with him saying constantly that he wouldn’t do the film under any circumstances.” The whole process was a long one, two years of filming provided 350 hours of media, but the film’s depth is better for it. “He kept writing and we kept writing back and eventually he agreed to

meet us, and once we did meet and I answered questions about what the film was going to be like, and he got that detailed explanation that it was not going to have narration and it was going to be from the inside out so to speak he was really eager. He was very forthcoming and once he agreed to do it he threw himself into it.” Only to be interrupted by the prison guards you hear in the film. “They came in every ten minutes like clockwork, and they weren’t quiet.” WHAT: Until The Light Takes Us out Wednesday Oct 13 (Shock)

frontrow@timeoff.com.au

FILM

TREE OF LIFE

REVIEW

SCOTT HENDERSON TALKS TO FRENCH DIRECTOR JULIE BERTUCELLI ABOUT HER NEW FILM THE TREE, A FILM ABOUT GRIEF, SHOT ON LOCATION IN AUSTRALIA.

BURIED

JULIE BERTUCELLI, SECOND FROM LEFT.

rench director Julie Bertucelli was in a unique position as production rolled out on The Tree, an adaptation of Judy Pascoe’s book Our Father Who Art In The Tree. Having just lost her husband, Bertucelli was intimately keyed into the many emotional beats of the character’s lives she was to explore in adapting this story of a family coping with the loss of its patriarch. The resulting film is a resonating exploration of grief that blends fantasy with realism. Strange though it may sound, Bertucelli had been looking for a tree story to follow on from her 2003 entry Since Otar Left, another accomplished film taking on the subject of familial loss, when her cousin handed her a copy of Pacoe’s novel. “I discovered many things that spoke to me and that it wasn’t far from my first feature film,” says Bertucelli. “Questions of imagination and how you can build something with tragedy that can happen to you, that you have to be creative in your life and never stop to do something with the events that occur in your life.” The director and her producing

partner Yael Fogiel quickly discovered that the film rights had been snapped up by Australian producer Sue Taylor and made polite inquiries about her plans to bring the story to the big screen. As fortune would have it Taylor had no director in place and agreed to a co-production on two conditions: that the film had to be made in English; and that they shoot in Australia. “It was a miracle she accepted to do this co-production,” says the director, beaming. Sat beside her is Taylor in a backroom of Sydney’s State Theatre where the film has just made its Australian premiere at the Sydney Film Festival having closed Cannes earlier in the year. “I think it was the first time in the history something like this happened. It was a great story, two female producers who really have a good relationship, happy to work together.” The Tree tells the story of the O’Neil family after father and husband Peter dies of a heart attack, leaving behind wife Dawn (Charlotte Gainsbourg) and four children. Simone (the scenestealing Morgana Davies), a precious eight-year old, believes that Peter’s AY RSD HU T RTS STA

soul is squatting in the giant fig tree that looms over their home. Each member of the family responds to the loss in different ways and it isn’t long before Dawn, devastated to be left alone to manage, begins to take comfort in her daughter’s imagination and embrace the supposed whispers in the wind. Conflict comes as the tree’s roots begin to destroy not only the neighbour’s fence, but also present a real and present danger to the home that father built. Bertucelli is understandably reticent to spend too much time discussing how her own loss informed her relationship to the project; nevertheless the director recognises the part it played in her decision to make this film and the creative process itself. “It gave me a lot of what I then gave to the film, I put a lot of my own and my kids’ experience into the film. I was not a tourist in this story, I knew it from the inside. It was very strong and it helped me in my personal life. I created the film with my sadness.” While loss may have instigated this particular union between artist and subject, the starting point

WHAT: The Tree WHERE & WHEN: Screening in cinemas now

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for production was in finding the perfect tree. “It had to be terrifying but also to give peace and be able to take them in its arms,” continues the director. “The main thing is to find this tree that we could tell this story without words. The tree is the metaphor for loss, the father and all they put of his memory. At the end when you stay too much in a relationship with grief it becomes frightening. It’s good in the beginning when the girl wants to talk with the tree, but it becomes impossible because you can’t stay with this idea all your life.” Decision-making is all-important in filmmaking as with life. And having worked with some of the finest in Europe including the amazing Krzysztof Kieslowski, Bertucelli has plenty of experience to inform hers. “They all taught me that I have to be myself in each film, not to be too influenced by other films I like. I also have to stay close to my own instincts. They didn’t tell me that, but I saw from the way they worked how important that was. “In any situation there are a thousand answers and every day on set there are thousands of questions. We know there’s not only one good choice, but the choice has to be your own decision. This is a hard job, always you’re not sure and there’s this full world of possibilities. You have to trust yourself and it’s not easy sometimes.” Bertucelli pauses for a moment, her own journey as yet incomplete though travelled enough to provide perspective. “It’s a war to make a film.” Life also. You have to take it one fight at a time, so long as you face up to those challenges thrown before you.

be something special. The first couple of minutes are pitch blackness as we hear Reynolds scrabbling and panicking; it’s a simple device but breathtakingly effective for setting the mood. What follows is no less suspenseful. Reynolds’ performance as a man desperately battling for his life, on a rollercoaster with peaks and troughs of frail hope and despair, is compelling. The nifty camerawork takes us right into the coffin with Paul, and the sense of claustrophobia and fear of being buried alive are palpable.

BURIED Buried sounds utterly impossible to sustain for 90 minutes: Ryan Reynolds, buried alive in a coffin with a lighter and a mobile phone. But dammit if this isn’t one of the most thrilling and utterly gripping films you’ll see this year. Spanish director Rodrigo Cortes and writer Chris Sparling are behind a yarn about Paul Conroy (Reynolds), a simple truck driver on contract in Iraq who’s grabbed by insurgents and buried somewhere in the desert. His kidnappers, calling on the (surprisingly powerful) mobile phone they’ve left in the coffin with him, attempt to extort money – but Conroy grabs this phone as a lifeline, calling anyone he reckons might be able to help – including his estranged wife, 911, and eventually a crack hostage negotiator. Right from the snappy, stylish Hitchcockian titles with their adrenaline-pumping and suspenseful music, you know Buried is going to

From the tense opening to the pantwetting finale, Buried is testament to what filmmakers can achieve by setting themselves limitations. In a world of boundless possibilities like 3D and CG, it’s often more beneficial to the integrity of the art to rein oneself in and make a storming picture by old-school methods. Buried does that masterfully. WHERE & WHEN: Screening in cinemas from Thursday Oct 7 BAZ McALISTER

GIVEAWAY! Prominent promoter Michael Chugg has brought to Australia some of the biggest names in music, such as Bob Dylan, Frank Sinatra, Robbie Williams, Coldplay, and Pearl Jam, so you’d think he’d have a story or two to tell, right? Correct. And tell them he does in the new book Hey, You In The Black T-shirt – written by Chugg with The Australian’s Iain Sheddon – a behind the scenes look into the world of Chugg and the acts he’s brought to Australia. If you read Drum then this book is for you. Thanks to Pan MacMillan we’ve got five copies to giveaway. For your chance to win one email give@timeoff. com.au with ‘CHUGG’ in the subject line.

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frontrow@timeoff.com.au

IMAGINE WAKING UP TO FIND YOURSELF INSIDE A COFFIN, BURIED UNDERGROUND. THIS IS THE PREMISE OF THE NEW FILM BURIED. SCOTT HENDERSON TALKS TO ITS DIRECTOR RODRIGO CORTÉS. hris Sparling’s script for Buried had been doing the rounds in Hollywood for a year. Most agreed it was a remarkable piece of writing, but few thought it was possible to translate into a feature film. The script tells the story of Paul Conroy, an American civilian contractor in Iraq who wakes up inside a coffin buried with only a Zippo, a mobile phone, and a short supply of oxygen for company. It takes an especially brave and creative filmmaker to take on such a challenge, something in short supply in Tinsletown. Up steps Spanish director Rodrigo Cortés, a man apparently confident and brash enough to not only take a crack at shooting what could turn out to be the most boring film since Andy Warhol’s Empire (with the exception of Gerry), but to make a film every bit as remarkable as the script. “It totally attracted me from the very beginning because I saw the opportunity to create something unique,” says Cortés, “something literally never done.” As the passionate talker goes on to explain, great stories cannot be measured in cubic metres, but by ambition and imagination. “It is often the case that limitations are, in fact, blessings. If you have something so confined in physical terms, you must be ambitious to find what really lies beneath. What I saw was a technical challenge and immediately thought of Hitchcock’s films such as Lifeboat [set on a tiny boat in middle of the ocean], Rope [shot in a single take], and Rear Window [from a single point of view]. Everything in Buried has been done against common sense because logic tells you these movies shouldn’t be done.” The final product, amazingly, is far away from recent high-concept, low budget flicks such as Open Water and much closer to Indiana Jones in a box. To be able to achieve such an effective action movie with this material is a credit not only to Cortés because a significant amount of credit has to be given to Ryan Reynolds. The Canadian actor is certainly not the first name that nominally springs to mind when you

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wonder who could carry a 90-minute thriller about a man trapped in a box. However, Reynolds is an actor the indie crowd has written off as a lightweight mainstream himbo. Not so much anymore. So how much time did Reynolds spend inside the box? “All of it,” Cortés says. “Basically, what we did is to get him inside a real, regular sized coffin and then take out one of the walls depending on the angle you needed. In some cases you could take the top off, but many times you don’t take out the whole top, you just take out a part of it, or a couple of lengths. Sometimes you’d take out a third of a sidewall. So he really felt it, it was very, very hard for him in physical terms. We sent him back to LA with his back bleeding, with his fingers fried because of using the lighter, with his skin totally destroyed by the friction of the sand. “People say it’s an interesting decision to cast him,” continues Cortés, “that they didn’t expect him to give such an amazing performance.

But I didn’t invent that. In every film I have seen from him – even the ones that weren’t so good – he’s so committed with things he’s doing. He has amazing timing, he knows how to hold the line for an extra second and deliver it to create a new effect. This story was so dark, I also needed some dark humour to come out from inside the character. I mean that it came out in an organic way from his emotions. He never acts, he always is, you can never catch him lying.” Beyond the film’s characterisation and technical success, there lies a bleak, cynical film with plenty to say of the politics and socio-economic culture of America post-Iraq invasion. Rather than from the director, however, it’s clearly woven into the fabric of Sparling’s script and on a purely metaphoric basis Buried represents the powerlessness and disenfranchisement many American’s have come to feel. As Conroy attempts to make sense of his situation the working class truck driver makes repeated distress calls to the police back in the US,

the FBI, and even his own company. The results of which are best left unrevealed, though we’ve all had our experiences with bureaucracy in all its glorious ineptitude, so you can take a guess. One truth that we have come to hold as overwhelmingly true, is Government is no longer by and of the people and it is most certainly not for them either. “This is not necessarily ideological or political, this is our world,” argues Cortés.

publicans but it’s not the most brazen of thefts. People will stick a glass in their bag as casually as they’ll use the toilet paper, but generally won’t make off with the furniture. Similarly, hoons won’t think twice about stealing a traffic cone but it takes a special kind of stupidity to steal a traffic light.

from backstage, but rushing off with an inflatable palm tree - that’s just taking the piss. We see you, all of West End can see you. Everyone loves a freebie, even if is free by force and kind of useless.

High-concept can often come across as a dirty word where cinema is concerned. Buried is a film that gets it all right, finding balance through great writing and innovative filmmaking. For many the idea of being stuck inside a box for 90-minutes is the ultimate nightmare. It’s great testament to Rodrigo Cortés that the director was able to turn it into a cinephile’s wet dream. WHAT: Buried WHERE & WHEN: Screening in cinemas from Thursday Oct 7

CRINGE

WITH MANDY KOHLER Like many uni students struggling their way through on Austudy I supported my education habit by serving behind a bar for a couple of years. Anyone who’s served behind a bar will know that it’s as much a study in anthropology as it is a way to make rent. There’s nothing that exposes the true personality of a patron like the way they treat those who serve them. While in other public spaces, like libraries, rules of use are implicit, to some people entering a pub is like entering international waters: anything goes. For example, why is it okay to take anything from a pub that isn’t nailed down? Souvenir glasses seem to be the particular fancy of the casual

DIRECTOR RODRIGO CORTÉS AND RYAN REYNOLDS ON SET.

thief. At the club where I tended bar they added a bit of class to the glassware by having them printed with the club logo. Two hundred were printed and by the time we decided to print a second run there were 15 left. Even with the occasional breakage that still leaves a lot of glasses carried out in handbags. Another favourite was the electric fake candles that flickered on the tables in glass holders even though they’re no use without a charger Not regarding stealing from a pub as stealing at all is an odd mindset to have, but it does take being on the other side of the bar to realise what a pain in the ass it is. If your Irish coffee is served in a wine glass it’s probably because someone’s flogged all the toddys. Stealing from pubs is costly to

This week I saw one of the most brazen attempts of pub theft ever at the Hungry Kids Of Hungary album launch as someone tried to make off with a piece of the stage set - a six ft inflatable palm tree. The band’s tour manager had to go chasing after the would-be thieves but luckily it’s not hard to spot such an object in the bottle neck to exit the Hi-Fi. What were they thinking? It could be worse with musos often being the victims of theft, having instruments stolen

As we get to do less of the things we were once freely indulged in like smoking in public, binge drinking (which at $9 for a Corona is far too expensive), and going to the beach without hourly applications of factor 50, the sneaky little things like expanding your crockery collection at the expense of your local will likely continue. One thing though: if the staff ask you for the glassware back don’t make them wrest it from your intoxicated grip. There’s no need to be so uncouth. There’s always next weekend.

GIVEAWAY! A French-Australian co-production, The Tree tells the story of a young girl who, in the wake of her father’s death, starts to believe he speaks to her through her favourite tree. Having closed Cannes to rapturous applause and starring Charlotte Gainsbourg, there’s much to enjoy in this adaptation of Judy Pascoe’s book Our Father Who Art In The Tree. Thanks to Transmission Films we’ve three prize packs to giveaway, each including an in-season double pass to see the film, plus the original book, a limited edition screenplay, and a tote bag. For your chance to win a pack email give@ timeoff.com.au with ‘THE TREE’ in the subject line.

frontrow@timeoff.com.au

BRISBANE FILM FEST ANNOUNCES FIRST TITLES The 2010 Brisbane International Film Festival is coming up, and the organisers have already announced a handful of the films that will be showcased in its programme. So far it’s a fairly heavyweight set, including Blue Valentine (starring Michelle Williams and Ryan Gosling); Jucy (from the director of All My Friends Are Leaving Brisbane); The Illusionist (Sylvain Chomet, The Triplets Of Belleville); Bill Cunningham: New York, about the New York Times style columnist; Joan Rivers: A Piece Of Work, about the US comedian; Sex And Drugs And Rock And Roll, about musician Ian Dury; the Australian premiere of Kaboom, from director Gregg Araki (The Doom Generation); Mexican modern cannibal tale We Are What We Are; Cameraman: The Life And Work Of Jack Cardiff, about the cinematographer of such films as The African Queen and The Red Shoes; The Red Shoes (conveniently), a classic adored by Martin Scorsese; and Xavier Dolan’s Heartbeats, which picked up top prize at Sydney Film Festival this year. Head to stgeorgebiff.com.au for tickets. BRISBANE FILM FESTIVAL

DVD

REVIEWS

GOOD HAIR Madman Chris Rock was commpelled to make the documentary-comedy-exposé Good Hair when his five-year-old daughter asked him, “Daddy, how come I don’t have good hair?” A study into the relationship between AfricanAmerican women and their hair and a $9 billion styling industry, Good Hair is an alarming eye-opener on a topic I profess that I knew nothing about. Interviewing everyone from Ice-T to Maya Angelou, Salt-n-Pepa to Reverend Al Sharpton and visiting beauty salons, scientific laboratories, and hairstyle conventions, Rock explores the way hairstyles have an effect on the day-to-day, the selfesteem and capital on the AfricanAmerican community. What follows will surprise you. With razor-sharp quips and questions, Rock is a joy to watch and listen to. So when he comes to the science behind chemical relaxers that straighten hair it is unexpectedly chilling. Your hair will stand up on the back of your neck and then maybe fall out, particularly when you hear women will use such treatments for decades and see young girls having these treatments done. Rock’s trip to India and visits to Hindu temples is an intriguing diversion as he unravels the origins of weave hair. An absolute must-see. ANITA CONNORS

THE KILLING: VOLUME TWO SBS/ Madman Scandinavian crime is enjoying a renaissance. Alongside The Eagle, Unit One, and of course Stieg Larsson’s ridiculously popular Millennium trilogy we have 2007’s The Killing. The first volume

(episodes 1-10) was a taut thriller of the highest quality, not just intelligent but gripping and terrifyingly addictive, filled with numerous twists and turns, red herrings and cliffhangers. From the discovery of a body of a girl in a river, it followed the ensuing police investigation, the effects on the girl’s family and the upper echelons of the political system. Everyone seemed to be implicated in some way, no one could be trusted, Copenhagen was a city brimming with secrets and power struggles. Worst of all however was that there was no resolution, meaning that it’s not until the release of this, the second volume, some three months later that we’re afforded some closure. Playing out a crime investigation over 20 episodes is not just bold but fascinating, it puts you on the roller coaster with the family and the investigating officers. The pulse of the story comes from the police investigator Sarah Lund, a women totally consumed by the case, her relentless tunnel vision destroying both her home and professional career. Then there’s Troels Hartman, an idealistic politician who seems somehow implicated in the investigation. Meanwhile the victim’s family are totally shattered by their grief and cracks begin to form in their relationship. There is nothing else like this on TV. It’s dense and multilayered with a huge cast of potential suspects all with something to gain, and the writers delight in the twists and turns. Hitchcock would be proud. Once you get on this ride you wont be able to get off without finding out what happens. Who knew TV could be this good?

THE NO.1 LADIES DETECTIVE AGENCY: THE COMPLETE FIRST SEASON Roadshow The BBC and HBO joint comedydrama production The No.1 Ladies Detective Agency is great television. Based on the best selling novels of the same name by Alexander McCall Smith, this seven-episode series is unassuming, hilarious, and filled with a winning collection of characters. Long time fan of the novels the late Anthony Minghella (winner of the Academy Award for Best Director for The English Patient) directs, while Richard Curtis (Love Actually and TV veteran of Blackadder and The Vicar of Dibley) is co-executive producer and co-pens the series. Other executive producers include Hollywood heavyweights Bob Weinstein, Harvey Weinstein, and the late Sydney Pollack. American actress and three time Grammy Award winner Jill Scott is Mma Precious Ramotswe, who, following the death of her father and break-up of her marriage, decides to set up Botswana’s first female-owned detective agency. Along with secretary Mma Grace Makutsi (Anika Noni Rose), mechanic Mr JLB Matekoni (Lucian Msamati), and friend and hairdresser BK (Desmond Dube), Precious finds herself, amongst other things, investigating ivory smuggling, looking for missing children and hunting down cheating husbands.

PS: the Yanks are remaking it and moving it to Seattle.

Despite a great looking DVD package, there are no DVD extras, which is serious shame considering the talent involved in the project.

BOB BAKER FISH

ANITA CONNORS

frontrow@timeoff.com.au

MIKEY ROBBINS CURATES COMEDY NIGHTS

TO THE LETTER

Starting this Thursday, comedian Mikey Robbins (Good News Week) will be in Brisbane curating a series a nights showcasing local talent, including Anne Ferguson-Howe, Mike Shanahan, Matt Marr, Chris Hague, and Melinda Buttle. Mickey Robbins And His Acquaintances will be at the Sit Down Comedy Club Thursday Oct 7 to Saturday Oct 9. Tickets from the venue.

AS A FORMIDABLE SCRAWLER OF BLOGS, LETTERS, COLUMNS, NONSENSE AND HILARITY, MARIEKE HARDY IS BOMB-DIVING THE LITERARY WORLD WITH HER NEWEST PUBLIC FORAY INTO LETTER WRITING. ALICE MUHLING LETS HER INNER WORD-NERD OUT.

arieke Hardy is hurtling down a Melbourne street in a taxi. She’s just deplaned from a Sydney flight and is juggling her phone and bag while intermittently interjecting the conversation with hurried directions to the driver, all while barely missing a beat as she talks about her latest project like a sugar-fuelled school child. It’s no wonder this lovely lady of literature is busy – her time is being spent rapidly cannoning between her multiple day jobs as a writer and columnist while her nights are spent – drink in hand – laughing, schmoozing and joyfully babysitting her brainchild event, Women Of Letters. Having taken off in Melbourne, premiered in Sydney and about to hit Brisbane in a few short days, Women Of Letters is a word- and winefilled celebration of letter-writing, and provides a chance for fellow ink-slingers to bond over a shared passion for the hand-penned page. The star-studded line-up of readers at past events reads like a who’s-who of Australian literati. Noni Hazlehurst, Jennifer Byrne, Alice Pung, Mia Timpano, and Tara Moss are just a few of the swoon-worthy talents that have taken to the (makeshift) stage and read their heartfelt letters to lovers, employers, friends and foes.

As co-curator of Women Of Letters, Hardy is currently caught up in a whirlwind of excitement surrounding the events and couldn’t be more pleased. Having met fellow co-curator Michaela McGuire – author, columnist, lawyer – at the National Young Writers’ Festival, the two banded together to create an arts event that would embrace their shared love of the written word while raising money for Victorian animal rescue shelter, Edgar’s Mission. After working on triple j breakfast radio for the two years prior, Hardy was ready for something different, something that got back to her roots as a writer and something that could be shared with others. “Michaela and I workshopped a few different ideas and the strongest one was we really wanted to showcase the female talent that we knew of personally from meeting them at writers’ festivals and so forth,” Hardy says. “It’s interesting that, being children of the computer age, we still have a strong romanticism for words and writing and letter writing. I think we came up with the idea of women writing letters and reading them aloud and maybe doing a letter-writing workshop, maybe in the afternoon ... A monster was created!” With an ever-rotating line-up of

well-known creative types paired with varied letter writing themes such as “My First Pin-up” and “The Song I Wish I’d Written”, every event has been a unique jumble of solemnity and silliness. . “Even yesterday [at the Sydney event], the topic was ‘A Love Letter’,” she explains. “Jennifer Byrne wrote this incredible historical piece that was from the perspective of one of the explorers from the ill-fated Scott of the Antarctic expedition and everyone was in reverent silence. And straight afterwards, Sally Seltmann got up and did a love letter to Beyoncé’s Halo and then sang it a cappella ... That’s what I love about it the most. No two letters are ever the same. “Judith Lucy did a letter to ‘The Night I’d Rather Forget’ and told these stories of vomiting into her own underpants and then someone else got up and talked about their father. You just cannot second-guess what angle people are going to take.” Each night, attendees are encouraged to flex their own literary muscles during a letter-writing break. It’s a strictly BYO ballpoint affair, where audience members can pour their hearts out on the aerogrammes provided. For all Hardy’s brazen

GOMA PRESENTS MAJOR ART SHOWCASE

chutzpah, when it comes to the audience participation section of the evening, sometimes the process can get a bit emotional. “People have really taken to that part of it in a way that makes my heart sing because I go and then post all the letters the next day. So there are people in the far reaches of the country who are the recipients of letters that people have been driven to write during our event ... I cry just about every time I post them. I posted the Sydney ones last night and had a little cry. So if you ever see a girl standing next to a post-box crying, it’s probably me just overcome with sentimentality.” Hot-stepping it to Sky Room in Brisbane for the next exciting instalment is number one on the to-do list for these wordsmiths. Words such as “gung-ho”, “positive”, and “excited” are bandied about as Hardy anticipates the opportunity to cavort

with an all-new northern chapter of readers and writers. Surely each new episode of Women Of Letters is just an excuse for Hardy to contact her long-held literary lady-crushes? “Hell yeah!” the writer laughs. “What a great excuse! ‘Oh sorry Claudia Karvan, I’m just doing this event, wondering if you’d be interested in doing this event with me? Oh hey, Claire Bowditch!’ You’ve got a complete excuse to call everyone you’ve ever liked, ever, and ask them to come and do your pissy little fundraiser and they’ve all said yes! It’s just astounding. It does amaze me how many people come and say yes to it. But they all come and have an absolutely amazing time.” WHAT: Women Of Letters WHERE AND WHEN: Sky Room Thursday Oct 7

It’s scary to think that an exhibition called 21st Century: Art In The First Decade exists, because it makes us wonder where the past ten years has gone. The Gallery of Modern Art didn’t exist ten years ago but it’s safe to say it’s one of the most important additions to our city’s cultural landscape, and whether its influence on ARIs and smaller galleries is direct or indirect there’s no denying that the visual art scene that’s sprung up in Brisbane over the past decade has placed our city on many international radars. 21st Century will certainly be a major talking point in the art world, as GoMA brings together important artefacts – more than 180 in total – by 110 artists from across 40 countries, some commissions, others on loan, including Turner Prize winners, Venice exhibitors, and artists such as Isaac Julien, Shaun Gladwell, Aernout Mik, and more. Two cinema programmes will also be running in conjunction with the exhibition. More information is available from GoMA’s website, but we suggest the exhibition’s blog, which is live now 21cblog.com.

PLEASE DRINK RESPONSIBLY.

The Smirnoff word and associated logos are trademarks. ÂŠ The Smirnoff Co. 2010.

ISSUE 1496

INLAND SEA NAME(S) AND ROLE(S) IN BAND?

if we HAD to choose, we’d go Black Keys, Arcade Fire and some Prince to keep Steele happy (and placid).

HOW LONG HAVE YOU BEEN TOGETHER?

IF YOU COULD CHOOSE THE BAND’S DESTINY HOW BIG WOULD YOU GET – WOULD YOU CONQUER THE WORLD OR BE HAPPY TO BE A BIG FISH IN A SMALL POND?

Alastair, Dani, Claire, Tahlee and Jeremy sing; Alastair, Beau and Jeremy play guitar; Jack plays drums; Steele plays bass; Danielle plays cello and Chloe plays violin. There’s a bit of ukulele and tambourine in there somewhere too.

The idea for this band was formulated around New Years Day this year and we reached our ten member limit around April.

HOW DID YOU ALL MEET?

Jeremy and Alastair came up with a bunch of songs and began recruiting members one by one with the idea of having a big, choir-like band. Most of our members joined because they were recommended or roped in by other members. Some of us have known each other for years, but most of us met each other through joining the band.

YOU’RE ON TOUR IN THE VAN – WHICH BAND OR ARTIST IS GOING TO KEEP THE MOST PEOPLE HAPPY IF WE THROW THEM ON THE STEREO? Because we constantly argue about these things, we would prefer an iPod on random, with short songs, in order to limit any building frustration and explosive in-van violence. But

We won’t be happy until we’re drinking champagne with Bob Dylan and eating caviar oﬀ Bono.

WHICH BRISBANE BANDS BEFORE YOU HAVE BEEN AN INSPIRATION (MUSICALLY OR OTHERWISE)?

The Gin Club, Laneous and the Family Yah, Blackwater Fever, Wilson Pickers, The John Steel Singers, Six Ft. Hick.

WHICH PUB OR BAR IN BRISBANE ARE WE MOST LIKELY TO FIND YOU FREQUENTING AS A GROUP?

The words ‘as a group’ make this one tough... pretty much the only time you’ll ﬁnd all of us together is for a gig! Or in Jeremy’s living room/makeshift bar.

WHAT REALITY TV SHOW WOULD YOU ENTER AS A BAND AND WHY?

BER 2010 O T C O H T 6 WEDNESDAY

Some sort of gladiatorial cage-ﬁ ght-to-the-death program would be excellent viewing – I think we’d all be interested to see who wins... Alastair has a bloodthirsty streak, but Tahlee is cunning, while Beau is a dark horse. The outcome is really anyone’s guess.

IF YOUR BAND HAD TO PLAY A TEAM SPORT INSTEAD OF BEING MUSICIANS WHICH SPORT WOULD IT BE AND WHY WOULD YOU BE TRIUMPHANT?

Table Tennis, and we’d win because we have eight more reserves than our opponents.

WHAT’S IN THE PIPELINE FOR THE BAND IN THE SHORT TERM? We are playing some great shows this month with Scott Spark on the 8th of October and We All Want To on the 15th, before releasing our debut EP Traitor on the 30th of October at Woodland, the new venue in The Valley. Hopefully a tour down the east coast will happen soon – getting ten people on the road will be EPIC.

Inland Sea play The Zoo Friday night, The Troubadour Friday Oct 15 and Woodland Saturday Oct 30. PHOTO BY BRAD MARSELLOS

TOUR GUIDE

GIG OF THE WEEK

INTERNATIONAL ALEXISONFIRE: The Tivoli Oct 7 JONNEINE ZAPATA: The Zoo Oct 7 SARAH MCLACHLAN: Brisbane Convention Ctr Oct 10 GBH: The Zoo Oct 13 THE BLACK SEEDS: The Hi-Fi Oct 14 BEDOUIN SOUNDCLASH: The Zoo Oct 15 DEAD MEADOW: Globe Theatre Oct 15 RUFUS WAINWRIGHT: QPAC Oct 15 SAGE FRANCIS: Step Inn Oct 16 BARONESS: The Zoo Oct 17 PARAMORE, RELIENT K: Riverstage Oct 17 THE SMASHING PUMPKINS: The Tivoli Oct 17 METALLICA: BEC Oct 16, 18 & 19 GUTTERMOUTH: Surfers Paradise Beer Garden Oct 27, Fusion Villa Noosa Oct 29, The Hi-Fi Oct 30 MOUSE ON MARS: The Zoo Oct 27 DIMI DERO INC: Spotted Cow Oct 29, The Troubadour Oct 30 LEONARD COHEN: BEC Nov 6 CROWDED HOUSE: Brisbane Convention Ctr Nov 9 & 10 THE NEW PORNOGRAPHERS: The Zoo Nov 9 JOE PUG: The Troubadour Nov 10 THE CHARLATANS: The Hi-Fi Nov 10 INGRID MICHAELSON: Globe Theatre Nov 12 SHIHAD: The Zoo Nov 12, Neverland Nov 13 MANIC STREET PREACHERS: The Hi-Fi Nov 13 KAKI KING: The Zoo Nov 20 THE LEMONHEADS: The Zoo Nov 30 SHARON JONES & THE DAP-KINGS: Great Northern Dec 1, The Tivoli Dec 5 REEL BIG FISH, THE AQUABATS: The Tivoli Dec 2 ARCHITECTS, COMEBACK KID, THIS IS HELL: The Hi-Fi Dec 3 MUSE: BEC Dec 5 & 6 U2, JAY-Z: Suncorp Stadium Dec 8 & 9 GIRLS: The Zoo Dec 9 THE FALL: The Hi-Fi Dec 9 HOT WATER MUSIC, BOUNCING SOULS: The Zoo Dec 11 EAGLES: BEC Dec 13 & 14 JACK JOHNSON, TEGAN AND SARA: Riverstage Dec 13 GORILLAZ: BEC Dec 19 BUILT TO SPILL: The Zoo Jan 2 MISFITS: The Hi-Fi Feb 6 THE CHEMICAL BROTHERS: Riverstage Mar 4 URIAH HEEP: The Tivoli Mar 31 THE SCRIPT: Brisbane Convention Ctr Apr 10

NATIONAL CLARE BOWDITCH: Surfers Paradise Beer Garden Oct 7, The Hi-Fi Oct 8, Irish Club Toowoomba Oct 10 GRAEME CONNORS: The Arts Centre GC Oct 7 ROSIE BURGESS TRIO: The Joynt Oct 7 SEABELLIES: The Troubadour Oct 7 DIESEL: Kedron Wavell Services Club Oct 8, Logan Diggers Oct 9, The Zoo Nov 6 GEORGIA FIELDS: Queen St Mall (Burnett Lane) Oct 8, Brisbane Powerhouse Oct 9 POWDERFINGER: University of Southern QLD Oct 9, Riverstage Nov 10, 12 & 13 SMUDGE: The Troubadour Oct 9 TAME IMPALA: The Tivoli Oct 16 SARAH BLASKO: Nambour Civic Ctr Oct 19, QPAC Oct 21, Stereo Oct 22, Byron Ctr Oct 23 & 24 CLOUD CONTROL: Beach Hotel Byron Bay Oct 21, The Zoo Oct 22, Coolangatta Hotel Oct 23

SMUDGE

THE TROUBADOUR, SATURDAY OCT 9 We had them on the cover of our magazine last week and have been crapping on to you about this show incessantly since it was announced a couple of months ago and now that Smudge are about to play their ﬁrst Brisbane show in goodness knows how long, we can hardly contain our excitement. The band have essentially perfected the art of the power-pop song throughout their career and given this tour comes on the back of the recent release of the excellent This Smudge Is True compilation (and, frankly, they haven’t released any new material in eons anyway), we’ll surely be treated to plenty of classics on the night. Support comes from Little Scout and Paul Donoughue. Tickets are still available from OzTix for $15 + bf.

PRESENTS CLARE BOWDITCH: Surfers Paradise Beergarden Oct 7, The Hi-Fi Oct 8 SMUDGE: The Troubadour Oct 9 THE BARONS OF TANG: Old Museum Oct 9 DEAD MEADOW: The Globe Theatre Oct 15 SAGE FRANCIS, DEXTER, HORRORSHOW: The Step Inn Oct 16 SARAH BLASKO: Nambour Civic Centre Oct 19, QPAC Oct 21, Stereo, Southport Oct 22 SHIHAD: The Zoo Nov 12 YOU AM I: The Hi-Fi Nov 27 THE LEMONHEADS: The Zoo Nov 30 KORN: The Tivoli Dec 3 FOZZY: The Hi-Fi Dec 5 THE FALL: The Hi-Fi Dec 9 GIRLS: The Zoo Dec 9 FESTIVAL OF THE SUN: Port Macquarie Dec 11-12 BUILT TO SPILL: The Zoo Jan 2 OWEN PALLETT: Old Museum Jan 25 THE CHEMICAL BROTHERS: Brisbane Riverstage Mar 4

Murder Junkies @ Step Inn pic by Silvana Macarone

ON THE TIME OFF STEREO

MURDER JUNKIES, JJ SPEEDBALL, MEDIOCORE, CUNT BUTCHER STEP INN: 01.10.10

Bleeding from the fingertips, Brisbane’s Cunt Butcher are a duo with an obvious depraved mission. Tunefully they reminisce about crack whores and impressively sound like a team of ten men, while frontman Carcass unleashes a tirade of nonsense spewing verbally across the “fucking empty crowd.” The suitably named Mediocore choose to walk the fine line between amateur and punk. Baby-faced and shuffl ing from ill-composed karaoke to the unoriginal, this coastal five-piece show clear signs of fatigue from their previous night’s show. A quick interlude from one man and his off-kilter keyboard provides entertainment during blossoming shenanigans that appear from dark corners of the venue closely followed by security. On cue, locals JJ Speedball compliment the nonsensical climate with their signature Southside style. Chanting “Back in the hood ” and demanding that you “Twist like a bitch”, the 20-year-old project is as enthusiastic today as it’s believed they have always been. Continuing to deliver audio gifts for the ostentatious while maintaining their roots at Carina Bowls Club, their latest single Home Run halts the set on yet another infectious chorus. By now, most of the dwelling have either hooked up or come unstitched as GG Allin’s original backing band the Murder Junkies invite themselves in. Seventeen years after the death of the infamous narcissist, a maximum of five enthusiastic attendees line the stage to honour the usually bloodied legend – the remainder flailing back in defence. Vocals that equate with a B-movie horror story are accompanied by a generic sound that is typically associated with bands of their era. The classics making way for an impromptu naked drum solo and a stage performance no man, woman or altered beast should be forced to witness. Without any encouragement required, the clothes-less monstrosity that personally wished us well to “enjoy

the show” before proceedings, crouches with his sticks to defecate his various oriﬁces without shame. The violated audience responding via their own cleaner antics before the lights go up, leaving the Step Inn colourfully lit in the aftermath of utter chaos.

I Heart California ADMIRAL RADLEY Pierre le Rat EXTRA FOXX The Age of Adz SUFJAN STEVENS Earth Vs THE PIPETTES The Dissent of Man BAD RELIGION Swanlights ANTONY AND THE JOHNSONS Color Your Life TWIN SISTER Maximum Balloon MAXIMUM BALLOON Hard Knocks JOE COCKER Controversy PRINCE

KENADA QUINLAN

HUNGRY KIDS OF HUNGARY, BIG SCARY, BALL PARK MUSIC THE HI-FI: 30.09.10

Greeted with a surprisingly massive crowd of early attendees on the first show of their debut tour, Ball Park Music acquit themselves admirably this evening. On record, the local indie-pop ensemble’s songs often risk sounding overly saccharine but, in the live environment, one cannot help but be impressed by the sextet’s sterling musicianship and intelligent songwriting. The sweet disposition of their work on record, meanwhile, ensures their live show is far more inclusive and outright enjoyable than those of their contemporaries – frontman Sam Cromack’s gloriously nerdy (or vice versa) enthusiasm practically impossible to resist. Impressively, though, Melbourne two-piece Big Scary manage to effectively eclipse such a solid introduction by offering a similar level of quality within a completely different context. The pair have yet to successfully synthesise their more refined piano-led tracks with their bruising and angular guitar-led pieces but one cannot deny their talents. Drummer Jo Syme’s rhythms are astonishingly tight, Tom Iansek’s guitar tone is crisp, dehydrated brilliance and the duo’s songs – leaping unpredictably from riff to riff with scant logic or reason – are as thrilling as they are cathartic. Exceptional, to put it mildly. A pleasant live act more often than they are an incredible one, headliners Hungry Kids of Hungary would typically be hard-pressed to match the energy of their supports. In truth, they only fleetingly hit such marks this evening – but, when the band’s electricity fades, their wonderful songs ensure the performance remains memorable. Launching their astonishing debut album Escapades, the band have no shortage of songs to dazzle their audiences – from older cuts like Arrest This

4ZzZ FM NOW PLAYING 1. Found Things LANEOUS AND THE FAMILY YAH 2. Mount Augustus MT AUGUSTUS 3. We Can Sleep Under Trees In The Morning BIGSTRONGBRUTE 4. Talent For Retail RE:ENACTMENT 5. Overpass (single) THE JOHN STEEL SINGERS 6. Midnight Remember LITTLE RED 7. Love Me (single) GHOSTBOY WITH GOLDEN VIRTUES 8. Velociraptor VELOCIRAPTOR 9. Deep Sea Creatures REICHELT 10. We Have Secrets But Nobody Cares SEJA Heart to fantastic album numbers like China Will Wait and Eat Your Heart Out (featuring a memorable guestappearance from Ball Park Music’s Jen Boyce). The obvious highlights arrive with the band’s singles (Let You Down, Scattered Diamonds, Wristwatch), but, in honesty, the evening will be most memorable because of the air of celebration that enveloped the band’s set. There are certainly elements that will stick in the mind (audience members on stage, the band’s excellent cover of Weezer’s Buddy Holly and, especially, Ball Park Music’s Sam Cromack dragging one of the band’s inflatable palm trees through the audience during final encore Two Stones) but what will stick in the mind will be the experience of watching a remarkable young band taking the first significant step of what is bound to be an incredible career. MATT O’NEILL

www.halfway.com.au

www.plusonerecords.com.au

OCT. 7 - THE ZOO BRISBANE - SUPPORTING JONNEINE ZAPATA (USA) OCT. 8 - QUEEN ST MALL BRISBANE - Bottom Stage from 6PM (3 SETS) OCT. 16 - RICS BAR BRISBANE - 2 SETS (Acoustic and Electric)

TOUR GUIDE

Boy & Bear @ The Zoo pic by Silvana Macarone

EAGLE & THE WORM: Great Northern Oct 21, The Troubadour Oct 22 LIOR: A & I Hall Oct 21, Sound Lounge Oct 22, The Zoo Oct 23 STONE PARADE: Step Inn Oct 21, Club Envy Oct 22, Hard Rock Cafe Oct 23 HOWL: The Club House Oct 23 BAG RAIDERS: Great Northern Oct 28, The Hi-ﬁ Oct 29, Coolangatta Hotel Oct 30 COERCE: Rosies Oct 28, Burst City Oct 29, Shed 5 Oct 30 KYU: Old QLD Museum Oct 29 THE AUDREYS: Joe’s Waterhole Oct 30, Brisbane Powerhouse Oct 31 MAMA KIN: Globe Theatre Oct 30 DAN SULTAN: Byron Bay Community Ctr Nov 3, The Troubadour Nov 4 & 5, Joe’s Waterhole Nov 6 PENDULUM: The Tivoli Nov 3 & 4 YACHT CLUB DJS: Great Northern Nov 4, The Zoo Nov 5 THE BASICS: The Club House Nov 5 GRINSPOON: Villa Noosa Nov 14 HOLLY THROSBY: The Troubadour Nov 18, Soundlounge Nov 19, Joe’s Waterhole Nov 20 PHILADELPHIA GRAND JURY: Beach Hotel Nov 18, The Hi-Fi Nov 19 GARETH LIDDIARD: Old QLD Museum Nov 19 GRAFTON PRIMARY: The Zoo Nov 19 SUGAR ARMY: The Troubadour Nov 19 PEABODY: Ric’s Nov 20 BROTHERS IN ARMS: QPAC Nov 26 THE CHURCH: Joe’s Waterhole Nov 26, Judith Wright Ctr Nov 27 MY DISCO: The Zoo Nov 27 YOU AM I: The Hi-Fi Nov 27 PAUL KELLY: Brisbane Powerhouse Nov 30 – Dec 3 HOODOO GURUS: Twin Towns Dec 10, The Hi-Fi Dec 11, Redlands Sports Club Dec 12

FESTIVALS OPEN FRAME: Brisbane Powerhouse Oct 6 – 7 CALOUNDRA MUSIC FESTIVAL: Kings Beach Park Oct 8 – 10 EQUINOX ROCKS 2010: Ramblers Drop Zone Oct 16 BRISBANE JAZZ FESTIVAL: Brisbane Powerhouse Oct 21 – 24 600 SOUNDS MUSIC FESTIVAL: Broadwater Parklands Oct 22 – 24 ON THE PULSE FESTIVAL: Fortitude Valley PCYC and The Hive Oct 23 ISLAND VIBE FESTIVAL: Oct 29 – 31 Home Beach, Point Lookout, Nth Stradbroke Island (Minjerribah) A DAY ON THE GREEN: Sirromet Wines Nov 14 OPEN ARMS FESTIVAL: The Coﬀs Harbour Showgrounds Nov 20 MULLUM MUSIC FESTIVAL: Mullumbimby Nov 25 – 28 HARBOURLIFE GOLD COAST: Broadwater Parklands Nov 28 FESTIVAL OF THE SUN: Sundowner Breakwall Tourist Park Dec 10 & 11 NO SLEEP TIL BRISBANE: RNA Showgrounds Dec 19 NO YEARS FESTIVAL: Brisbane Powerhouse Dec 31 SUNSET SOUNDS: Botanic Gardens and Riverstage Jan 5 and 6 BIG DAY OUT: Gold Coast Parklands Jan 23 GOOD VIBRATIONS: Gold Coast Parklands Feb 19 SOUNDWAVE: RNA Showgrounds Feb 26

BOY & BEAR, THE CHEMIST, PASSENGER THE ZOO: 02.10.10

Perhaps its the rain belting down outside, but tonight The Zoo is already at two thirds capacity for tonight’s sold out show and Passenger has only just stepped onto the stage. While Mike Rosenberg, as he is known by his mum, may hail from the UK, his six months spent in Australia has crafted his sound to fit our tastes perfectly. Honest song writing with a boyish charm approach makes his tales come to life, and as he winds his way through Caravan you can spot a few people singing along despite his relative anonymity. It is a difficult task to fill a stage with passion when you are standing alone on stage, but Passenger fills it brilliantly as the solo acoustic strums of Golden Thread ring out. After a small but silencing Simon and Garfunkel tribute is finished, Boy and Bear take over and join Passenger for Shape Of Love, played completely unplugged in the middle of the dance floor to put a special finishing touch on the set. The sound soon changes as Perth quartet The Chemist take over the stage and are soon whipping out the loving country heart of End Of July which drops its finish into vocalist Ben Witt layering vocals onto of each other via a bullet mic and turns out to be quite an amazing sight. Many of their songs seem to be a mish mash of genres, each sampled so delicately and slotted in with each other to create a greatly unique presence, the vocal range of Witt appears to open even more doors for the group especially when coupled with the creative musicianship of the other band members. Their set slips away all too quickly though as they reach their final track in Lullaby #1 (Mercy), though with a performance like this it’s a sure thing that we will be seeing them again. The blackened stage is soon adorned by flicker LED’s on the back wall and Boy & Bear walk into the darkness as the gentle intro to The Storm plays out. The five members onstage are consumed in their instruments as only front man Dave Hosking lets slip a small smile. The sound is flawless, every note hit with studio recording perfection, but even leading into the much more lively radio single of Blood to Gold, their performance is completely uninspiring and lifeless. It begins to have an effect also, with the room now compacted into the stage area, you can easily look around and see a mixture of loving admiration or utter confusion on punters faces as the set rolls on, easily separating those who are here because a radio station told them to go. The dedicated fans however are there with complete love, tooting away to every chance they get as drummer Tim Hart rolls into The Rabbit Song, but its Mexican Mavis that finally breathes a much needed breath of life into the show, all too late though, as the set ends straight after. MARK BERESFORD

AMY MEREDITH, FINABAH, THE TAKE THE ZOO 01.10.10

The Zoo is a very unfamiliar place when Sydney quartet The Take begin their set. The overwhelmingly female audience, pepped up on Vodka and Red Bull takes a liking to the youngsters, they suit the niche accordingly. Slick and polished, The Take are pop rock-by numbers, and nothing more. The embodiment of all things predictable, and lacking the stage presence for music that attempts to be so vibrant. Nevertheless they are quite content in accepting a portion of Amy Meredith’s fanbase. Locals Finabah receive rapturous applause upon their entry, and suitably keep the musical trend going. The band release a tirade of energy upon entry with bassist Brendan Langﬁeld twirling around at lightening fast pace, and singer Nick Butterworth windmilling his microphone around, but then it all goes pear-shaped. The energy abruptly drops, exposing the gratuitous use of clichés present in their music. Guitarist Dale Bridgeman displays competent chops on his guitar, despite looking like a metal-head drained of all masculinity. Their latest single Android Boy shows some aptitude with its eccentric whistled melody, but the rest of their material is carbon-copied and generic. Their truly shocking cover of MGMT’s Kids only further tarnishes a bland and fruitless aﬀair. Once again, the audience are won over without a hitch.

The illuminated Styrofoam prisms are about the only thing remotely interesting about Amy Meredith’s performance. Although in the band’s infancy their 80s synth pop-rock showed some promise, the band is now the manifestation of truly some of the worst musical stereotypes. Christian Lo Russo is the dominant performer on vocals dancing his way across the stage with pomposity. The rest of the band possesses a disinterested or arrogant on-stage demeanour. The between-song banter is obnoxious and pretentious, a combination of sleazy sexual innuendo and juvenile humour. When the band declares that Pornstar was written for Brisbane, it’s hardly convincing and appears recycled. This War and Black Eyes, the band’s earlier tracks, are the only palatable offerings in a monotonous and tacky set, which includes a horrendous take on Video Killed the Radio Star. Drummer Kosta Theodosis bursts into a solo towards the end of the set in an attempt to show some musical proficiency, but it’s too long and at times struggles to keep a consistent tempo. By the time the band reaches their final number, Lying, Lo Russo’s pitch is beginning to wane. Nevertheless the band receives a standing ovation throughout the entire set and the audience enjoys every minute. Tearing down Amy Meredith about their commercial orientation is far too easy. Be that as it may, their latest approach just makes their flaws too obvious. For fans of the vain and superficial, they fit the mould perfectly. SCOTT THOMPSON

WHITELIGHT: THE JEZEBELS, OH YE DENVER BIRDS, INLAND SEA, DANCE HALL PARADISO, LUNCH TAPES LIGHTSPACE: 01.10.10

Kicking off a double-header warehouse party weekend, locals Lunch Tapes make their way through a very The Smiths-esque live set, with Dance Hall Paradiso warming up the growing crowd further. Dragging nine of their ten members out (or perhaps one was just hiding in the stage clutter) Inland Sea attempt an ambitious folk sound revolving around three female singers placed brazenly out front, bookmarked by two singing fellows toting guitars and ukes. Before they reach the point of introducing a new track midway into the set which ends in some members finishing before others, their efforts at harmony mostly end in a muddle. The song structures are pleasant enough, though with the addition of cello and violin plus sporadically inappropriate drum flourishes, it is coloured separately with such vigour that it becomes an irreversible grey mess. Oh Ye Denver Birds are toting around a lot more gear these days as they kick out increasingly more experimental and electronic jams, opening with an instrumental to set listening ears to just the right key. Each of the four members is adept at their talent without a hint of a ‘look at me’ vibe which is refreshing indeed, a quality shared with the evening’s headliners. Frontman Dom Stephens switches between floor toms, guitar, vocals, keys and various knob twiddling effortlessly, even getting in a bit of white-boy rap. New single Walls gets a run to the delight of the solid crowd, and though older tracks (Here Within Ourselves Here and Douglas Firs) are missed from their set of late, Oh Ye Denver Birds are forging new territory confidently. The Jezebels are a clever mix of intellect and emotion across their set of thought provoking rock balladry, an example of a shared four-piece union where no one element grabs more attention over the other. Frontwoman Hayley Mary is difficult to look away from, visually and vocally a mix between Karen O and Katy Steele with a touch of Kate Bush thrown in. Bereft of the minor piano notes, the wretched guitar tones or the creatively rhythmic drumming though, lyrics like “you can’t rely on the common man” during new single Mace Spray wouldn’t have a vehicle to rile the sensitivities of any let down girl in the room – and they do. Disco Biscuit Love and Hurt Me get a big response as Mary’s moves pull her physically between the keys and guitar, a sign of the interplay between the elements. Expertly managing the quiet with the loud, and volatility with a sense of calm, The Jezebels have radiated an ambiguous, edgy and dark vibe tonight – a perfect showcase on the very day of their new EP Dark Storm. TYLER McLOUGHLAN

BLACKLIGHT: DAPPLED CITIES, THE BOAT PEOPLE, TELEPROMPTER, THE BELLIGERENTS, MOON JOG LIGHTSPACE: 02.01.10

Lightspace is a terriﬁc new venue. A converted warehouse that functions as a place for creative projects, live music and other events, it’s got an edgy innovative layout and a refreshing amount of space to move around in. It’s the second night of the massive Whitelight/ Blacklight Party, and the blue and green lights that

illuminate the venue give its “industrial chic” an almost futuristic look. Sydney indie rockers Dappled Cities and much-loved Brisbanites The Boat People are headlining, supported by three electro-tinged local indie bands. Opening band Moon Jog deliver engaging post-punk with electro flourishes and crashing drums, as frontman Clay switches between electric guitar and synth. The Belligerents emerge with war paint on their faces and keep the audience rapt with a set full of energetic electro funk-rock, with the single These Hands the highlight. Teleprompter continue in the indie/post-punk vein, throwing in a surprise cover of Eminem’s Lose Yourself that actually packs more power than the original. Then we come to The Boat People. Opening with Antidote and Soporific, they let their darker side come to the fore as they play a selection of tracks with a specific focus on recent album Dear Darkly. There’s a lack of their poppier or more commercial material, but they still manage to play some stand-out tracks with a bit of a haunting edge. The single Under the Ocean, with its ethereal vocal melodies, is the highlight. Dappled Cities arrive on stage with a bang, kicking off their set with three amazing songs. First up is the romantic pop gem Vision Bell, from their album Grandance. Then comes Answer is Zero, an awesome track with a killer synth riff. Next we hear the urgent shouts and debaucherous groove of single The Night is Young at Heart. “Would you be open to a night of total chaos?” sings frontman David Rennick, and the idea sounds very appealing indeed. The band play a selection of songs from their previous three albums with a couple of new ones thrown in, and before long bubbles start to rise from somewhere in front of the stage. It suits the mood well. There’s a dud song or two towards the end, but overall it’s a very satisfying gig. And when Dappled Cities launch into their ultra-catchy pop single The Price, the crowd’s enthusiastic reaction makes us realise the poster wasn’t lying. This is definitely a party. DANIEL WYNNE

THE HOLIDAYS, PAPA VS PRETTY, GUNG HO THE TROUBADOUR: 02.10.10

Out from the warm, red-lit stage – a view squeezed cozy and tight by the wall-slung carpets, the soft-seat cube-cushions, and the high-hung speaker boxes – stares an empty white drum kit. Across its belly, a decal horseshoe-printed THE HOLIDAYS beams a pride and old-school pomp that ebbs a rustle of excitement through those moving to settle before the glare of its upside-down grin. Hanging coolly from the bar, a few peering anxious over the beaded balcony above the stairwell, the three bands flit from bar to patronhuddled floor; their shifting presence making up at least half of the crowd. Gathering, then, the wall-pods into circles of small talk and chinking beers, band and fans alike settle in for the opening set. With a balmy, bespectacled nonchalance, the young Gung Ho take the stage. All neatly tucked and waistcoated in chai latte-yellows and Winnebago beiges, the band strike up a clumsy opener; a song hazed in drippy, punk-stressed vocals, an aesthetic like the nerdy, hipster Fratellis, and a drummer who can’t keep up. Things tighten a little, as their footing’s steadied upon the swing-punk, bass-propelled Vacation, though fills and gaps again show holes in the rhythm section’s kitted half. Upon that, they build with each successive track; runs of spacey, retro-chromatics conjuring images of bright, fuzzy lights glinting off greasers with flat tops chatting up Sandra-Dee’s in summer-time milk bars. Gorgeous, whale-song guitar work crashes into sounds of The Surfaris-like dune-drumming, and then in a blink, their short set’s over. Papa vs Pretty, perhaps the meatiest filling of any line-up sandwich, are a threat to headliners everywhere. Fresh off the release of their Paul Dempsey produced EP Heavy Harm, the Sydney post-Silverchair three-piece boasts a perfection, an eclecticism, an ingenuity, and a humility that can’t not see them blow up really big, really soon. Each walloping, rock-megalodon track’s the image of seared perfection, nuanced with all the flourishes belying of their exceptional craftsmanship, cohesion, and extensive touring. Their solos draw awe in hushed expletives, and the soaring, Jeff Buckley vibrato of precocious wunderkind frontman Thom Rawle shrills a mix of pathos and unbridled cool that sends shivers up the spine. Ugh, it’s hard not to gush. See them, be amazed, tell everyone. Their reputation alone boasting that they can very much hold a candle to tonight’s high bar, bass-drum namesakers The Holidays are up last. Psychedelic whorls of electric drums dab and puzzle-piece around a growing wall of congo-bongos and cow bell, all evinced with a Caribbean-side chill. From the shimmering, hula-throbs of 6am, the Barbie-voiced Simon Jones – sounding deliciously like a sleepy James Mercer – leads the band through the piña colada-sipping synth-tongs of Indian Summer Anniversary, into the melting go-go sounds of their latest single, Broken Bones. The synthboard, deep like watery swords saws an elastic fuzz around Conga next, before Golden Skies sees Jones becoming Jonsi atop a solo-ing bongo line which closes the night in a frenzy of sweat, sweet, and dance. SAM HOBSON

ROCK THE VOTE

SIX PACK BRAZEN BULL CUTTING EDGE EXTREME METAL OUTFIT BRAZEN BULL ARE DETERMINED TO DO THINGS DIFFERENTLY AND RESCUE HEAVY MUSIC IN THE PROCESS. 7-STRING GUITARIST GRAIG TAYLOR TALKS TO TONY MCMAHON ABOUT THE BAND’S NEW RELEASE, THE TRAVELING PARASITE. And Brazen Bull’s new record, according to Taylor, will be nothing like this. “We’re most of the way through our debut album, The Traveling Parasite, a 20-minute journey of concepts and never before attempted noise/resonance/grind. The Traveling Parasite is a mix of technical stop/ start fury, all over the shop vocal and guitar noise, beautifully brutal blasting rhythms, and crushing but delicately intricate anthems.” Time Oﬀ is almost afraid to ask this, but what can punters who’ve never seen Brazen Bull expect from one of their live shows?

“Brazen Bull has been trying to write differently since day dot,” says Taylor. “We’ve made a conscious effort to take an idea, more so than a riff, and manipulate it to a point where no one knows what’s going to happen next. Extreme metal is a tricky one to talk about, is it a pseudo-genre? I see it as more of a warning actually; like if you’re going to listen to this, don’t expect it to be pleasant. But it’s the idea that ‘extreme/brutality’ is enough of a ‘hook’ that not much else has to happen. This is where I got sick of the music I used to love; it just started to bore the shit out of me.”

“I wouldn’t say that our live show’s tame by any means, but that’s no deterrent to come down and have your ear-drums busted. We try to always put on an exciting show; we normally have a giveaway or two for the best mosh/circle-pit/ﬁght dancer. No dead animals, rituals, or latex masks; just a couple of guys who are passionate about their music and want to put on a solid show. I suggest that regardless of if you love it or hate it ﬁrst time you hear it, come down, throw down, and/or heckle the hell out of us, whichever takes your fancy.” WHO: Brazen Bull WHERE & WHEN: The Fort Friday Oct 8, Rosie’s Friday Oct 15

Voting has begun to decide the final two acts for the On The Pulse Festival, which will be held at the Fortitude Valley PCYC. The final six bands selected for the final round of voting include StoneMason, Alibrandi, Ludavico, A Strobelight Summer, Too Late Escape and three piece rockers Silent Motive. Fans are encouraged to go to onthepulsefestival. com.au and swing the bands a few votes, before ballots close on Friday Oct 8. The final two bands will join the likes of Finabah, Flicks, The Monster Goes Rawrr, Burning Brooklyn, Words Versing Verses, Drawcard, Autumn Heartache, The City Shake Up, Cold and Need, Trashqueen, Bixby Canyon, Calais and Starting Sunday. On The Pulse Festival will be held at the Fortitude Valley PCYC on Saturday Oct 23. Tickets are $25 from Oztix.

KILL THE MUSIC FUNDRAISER

There’s a special circle reserved in hell for people who steal from people who support the local musical community. Kill The Music on Elizabeth Street was robbed recently by a bunch of truly gutless individuals, so they are staging a fundraiser to recoup their losses. Club 299 will be opening its doors and local acts Poseidon, MadisonFoxx, Ludavico, Alibrandi and Artic will be playing a few tunes. There be dirt cheap band merch, as well as heaps of giveaways, so make sure you head along to help save the unfortunate store. The Kill The Music fundraiser will be held on Thursday Oct 7 at club 299. There’s a $10 entry fee and they will be taking donations throughout the evening.

SUNDAY SESH!

Birdie Num Num is a venue that is always keen for a few Sunday afternoon brews. Just think about it, crisp golden ale sliding down your throat as you relax in the tranquil surroundings. Hell, the bar even has a pool! What makes things even more exciting is that the venue will now be hosting live music to infatuate your eardrums. Each week bands and artists will take the stage amid a relaxed afternoon vibe to strum, drum and hum out original music and good times. No gimmicks, no posers, no nonsense – just live music at its best. These Sunday afternoon sessions, dubbed Don’t Come Monday will kick oﬀ on Sunday Oct 10 with Misere and The Art Of Sleeping (please note that we don’t condone skipping work on a Monday and will not be responsible for your actions).

FLOATING AWAY Toy Balloon has picked themselves up two crucial support slots, of late. Not only were the four-piece named as the support for Pikelet and Richard In Your Mind but they also will be supporting El Guincho from Spain when he heads down under after touring across Europe. The guys (and girl) have been receiving nothing but positive comments for their debut album Toy Division. A melange of shoegaze, house and classic electronic, Toy Balloon’s pastiche of glitches and beeps are to be admired. The Quartet will be playing with El Guincho at The Club House on Thursday Dec 16.

THROWING STONES

Sydney’s Stone Parade have been riding a wave of success since taking out the Nokia Be Heard competition and more recently the managed to snare an award in the esteemed International Song Writing Competition. The band are headlining towards an edgier and more energetic sound, tweaking classic rock riff s and distilling them with a modern crunch. The new album Stratosphere is laden with stadium fi lling rock and roll and sing-along choruses. Stone Parade will be playing three shows. One at the Step Inn Thursday Oct 21, one at Club Envy, Maroochydore Friday Oct 22 at and finally they play Hard Rock Café, Surfers Paradise Saturday Oct 23.

HYH

SIX PACK

HAVE YOU HEARD?

CELL BRASH KIWI ROCK‘N’ROLLERS CELL ARE ABOUT TO EMBARK ON A NEW AUSTRALIAN TOUR. VOCALIST CLIFFORD THOMPSON TALKS TO TONY MCMAHON ABOUT WHERE HE COMES FROM AND THE BAND’S NEW RELEASE, LOVE AND MURDER. occurs and victory in not only surviving in such a volatile environment but rising above the adversity to live life. Being from such a multicultural environment also helps when writing our music. What I mean by this is, with Manurewa being heavily hip hop oriented; it created a desire in me to search for other genres and varieties of music.” When talking about their Love And Murder album, Thompson says the writing process was guided by wanting the record to be more user-friendly but still cutting edge. “Last time around was great,” says Thompson, on Cell’s last visit here. “We had the opportunity to go into a lot of schools in Albany, W.A. By the time we’d finished up, we were recognised in the local malls and around the town, which is always a unique experience. We were able to make new friends, generate new fans and touch base with an existing fan base. This tour will be different in that we haven’t been to Brisbane in a while.” Cell hail from Manurewa, one of Auckland’s toughest suburbs, and, naturally enough, Thompson says this has had a marked influence on the band’s music. “I believe that wherever you come from impacts and influences who you are as a person. Our music is full of inspiration to evidence hope, aspirations to break away from a lot of the negativity that

“We believe in progression, growth and the constant pursuit of reﬁning our sound. In writing the new record, we wanted to create greater accessibility for our music without loosing what we feel is our edge. This resulted in us toning down some of the heavier vocals and rhythms, incorporating more catchy melodies, whilst still maintaining a bit of an aggressive characteristic. The result: an emotional rollercoaster that addresses real issues like addiction, broken heartedness, and giving up while oﬀering hope, inspiration and pathways to redemption.” WHO: Cell WHAT: Love And Murder (Independent) WHERE & WHEN: Princess Theatre Friday Oct 8, Step Inn Saturday Oct 9

GOD SAVE THE KINGS

AMPS TO 11 With their truly Herculean-sized wall of sound, it’s no wonder that Buick Six were outlawed from Ric’s for being “too loud”. But after a much needed concrete milkshake the venue has hardened up and allowed the trio to return. They will be joined by the gravelly and uninhibited garage noise of The Vignettes on Friday Oct 8. The three-piece will also be throwing their weight behind New Zealand’s Die! Die! Die! when they stop oﬀ at The Shark Bar on Friday Oct 15 with the Villains of Wilhelm. If you still can’t satisfy your tastes for pummelling garage rock, then head along to THAT Festival on Nov 20 where they play alongside You Am I, Regurgitator, Miami Horror and Calling All Cars.

Having amassed themselves mountainous popularity with audiences in WA, The Joe Kings have snared the Western Australian Music Industry Awards (WAMI) for Favourite Newcomer, despite having an average age of about 20. The title has been notably awarded to acts like Tame Impala, Birds of Tokyo, Little Birdy and The Panics in recent years. In light of their predecessor’s achievements, it certainly seems that there is a lot to be expected from the four-piece. Having played at Southbound, West Coast Blues and Roots Festival and constantly selling out their own shows across Perth, the group is exporting their authentically retro blend of rock n roll over here to Queensland on their tour. The Joe Kings will play two shows at The Rails, Byron Bay Sunday Nov 7 as well as The Step Inn Wednesday Nov 10. If their music doesn’t impress – you should see their hair!

THE ANTIPODEAN COLLECTIVE

The Antipodean Collective may sound like a bit of a mouthful but their music is something of marvel. Featuring four of Australia’s most acclaimed improvisers, the group creates a unique and powerful blend of jazz infusing western and eastern sounds to create their own distinct sound. Jazz critics have written glowing and ecstatic reviews about the quintet and their live performances have been jaw dropping, breaking free of parameters and formulas with ease. The group will be playing one show only at Jazzworx! In Bowen Hills on Thursday Oct 14. If you love your jazz free-ﬂowing and unpredictable – do not miss out.

The dainty melodies of Brisbane four-piece Daisie May have had audience members enchanted under their spell with their distinct heart-on-sleeve lyrics, fused with the energy of punk and indie. Their accomplishments appear rather stunning for a band barely two years of age and they are gaining quite the reputation with their hard-working, do-it-yourself ethos. 2010 has already seen acclaimed drummer Steven Pope (Kate Miller-Hiedke) joining their ranks and industry grandees have been keeping their eyes on the four-piece. Daisie May will be supporting America’s Jonneine Zapata at The Zoo Thursday Oct 7 as well as a smaller show at X&Y Bar on Friday Dec 3 with J-Pan Fan.

A POWERFUL KICK

In the baroque era, The Incredible Kicks would have been writing 34 flute fugues that would put even Bach to shame. However the trio are about 500 years too late and firmly lodged in the 21st century. In an age of seemingly ridiculous musical genre hybrids, the dudes have basically given us this analogy: “If you take the lift up past ‘Alternative’, all the way up to ‘Prog-Pop’, then jump through the nearest window and take a flying fox over to the next building – that’s where you’ll find The Incredible Kicks.” Quite hard to pigeonhole, right? Perhaps you need to see this to make up your own mind. The three-piece will be playing at The Miami Shark Bar Saturday Oct 9 with Grant Carruthers, Stellar Green and David Aurora as well as Club 299 on Wednesday Oct 13 with The Black Walls and Rawr Vanity.

OUT OF THE PARK

To say Ball Park Music have made 2010 their year would be an understatement. Triple J has ﬂogged the shit out of their latest EP Conquer The Town, Easy As Cake with the infectious iFly proving to be a huge favourite with listeners and critics alike. Having supported a whole horde of various acts, the band is heading on tour with the Hungry Kids of Hungary who are receiving a rapturous reception for their debut album Escapades. They’ve already made the audiences swoon at The Hi-Fi album launch but you can still catch both Ball Park Music and Hungry Kids of Hungary on the Queensland leg of the Escapades tour at The Spotted Cow, Toowoomba Thurs Nov 4, The Great Northern Byron Bay on Friday Nov 5, The Kings Beach Tavern in Caloundra Saturday Nov 6 and The Runaway Bay tavern on Friday Nov 19.

KINGS OF THE RODEO

NINJA ATTACK

Keep low; keep quiet: there are ninjas afoot. Although, they aren’t the hood wearing, shuriken throwing ancient Japanese warriors, these ninjas’ weapons are guitars. Brisbane two piece The Ninjas might not know much martial art, but rest assured, in the art of rock, they are beyond competent. The alt-rockers will be launching their single at X&Y Bar Friday Oct 8 as well as a second show Saturday Oct 30. With kooky slabs of fuzz, twinges of electro-synth and even a little bit of blues, the two-piece have got every blend of sound well and truly covered. The Ninjas are far from silent but they sure are deadly, ﬁguratively speaking, of course.

PUSHING UP DAISIES

ROCK VS RAP Who said that theatrical rock and electro hip hop will never mix? Clearly Melbourne’s [Me] and The Melodics don’t think it’s the case. We’re still wondering how they will be fitting all their gear into the one tour van. Despite both having radically different sounds, the bands both have the same agenda: deliver enthralling and aberrant performances of epic proportions, regardless of their sounds being polar opposites. The tour marks the nationwide launch of their respective releases, with The Melodics Paint Me Gold and [ME]’s new single Naked. The Melodics and [Me] will play The Great Northern, Byron Bay Thursday Nov 25 and X&Y Bar Saturday Nov 27. There is also a Gold Coast date on Friday Nov 26 but the bands have not yet finalised a venue.

With a debut EP premiering at number two on 4ZzZ’s top 20 and their single It Means Nothing featuring on AMRAP’s Fresh From Queensland Sampler, Princess Rodeo have had a pretty huge year . A mixture of ethereal guitar melodies which crescendo up to twangy riﬀ s, the band are sure to keep you transﬁ xed upon the stage. After supporting Diana Anaid and playing a stint at the Bass for the Base festival in Toowoomba, the band will be supporting The Oyster Murders when they launch their single. The Oyster Murders have recently returned from overseas, and their EP was produced by the renowned Magoo; all the more reason to catch them and Princess Rodeo at The Zoo on Thursday Oct 28.

BLESSED ARE THE MEEK

It’s been a whirlwind two years for Ryan Meeking and his band. After two critically acclaimed EPs, extensive radio airplay and relentless touring both in Australia and abroad, the band bunked down in the studio to record their debut album. Recorded in the US by renowned producer Nick DiDia (Pearl Jam, Rage Against The Machine, Powderﬁnger, Bruce Springsteen) the album has already made Rolling Stone declare that Meeking “will inherit the earth”. Ryan Meeking will play the Caloundra Music Festival Saturday Oct 9, the Noosa Surf Club Sunday Oct 10, The Troubadour Thursday Oct 14, the Spotted Cow in Toowoomba Friday Oct 15 at and the Beach Hotel, Byron Bay Saturday Oct 16.

Humonic play the PTAA Tattoo Show at the Jubilee Hotel Saturday Oct 30 How did you get together? Out of necessity really. The rest is a really long story. Sum up your musical sound in four words. TRUE HEAVY FUCKIN’ MUSIC If you could support any band in the world – past or present – who would it be? PANTERA Your being sent into space, you cant take an iPod and there’s only room to bring one album – which would it be? It would be the compilation album that I would have gotten made up consisting of everything from heavy death to Acca Dacca. Greatest rock’n’roll moment of your career to date? On tour, Smoking Kahbunga in the back of a furniture truck on our way to Brizzy after playing to 7000+ kids at Festival Hall in Melbourne (in support position of course). High times! Why should people come see your band? People should go see and support all local and interstate Aussie bands – crank that shit man!!! Just got back from Bali where there was a local gig and 1000 + kids and over there it’s the norm. Big cheers to Kent Haines and Geeks from Brizzy and all alike for helpin’ keep the scene alive and well, man. See you crazy fuckers soon at the PTAA \m/.

RODENTS OF THE RED PLANET

Although a lot of people probably haven’t heard of Mouse on Mars, if you’re a follower of underground electronic music you’d know that they are supreme beings in their genre. They were one of the ﬁrst groups to publicise Germany’s booming electronic scene. Mouse on Mars chalked up success in all corners of the glove, refusing to conform to prevailing clichés, blurring the dividing lines between rock and danceﬂoor. The seminal duo will be playing one show only in Brisbane at The Zoo on Wednesday Oct 7. Local lad Anonymeye was lucky to pick up the support and they will be joined by Melbourne’s QUA and China’s B6.

GIVE ME NOVOCAINE

With faces that melt hearts, and music that can level mountains, it’s no surprise The Novocaines started 2010 with a bigger bang than 200 tonnes of TNT. After tours with Kram, Yves Klein Blue, Philadelphia Grand Jury, as well mighty supergroup Them Crooked Vultures, the Perth four-piece are preparing to tour the country upon the release of their latest EP Courtesy Eventually. The lads are hitting the road with Port Macquarie’s Foreign Objects and Melbourne’s Fang for a host of east coast dates. You can catch the baby-faced dynamos on Thursday Oct 14 at The Clubhouse Brisbane, Friday Oct 15 at the Coolangatta Hotel and Saturday Oct 16 at Club Envy Maroochydore. Rumour has it that international eyes are staring at The Novocaines with intent, so make sure you check them out before they move on to bigger things.

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SHORTFASTREPORT Hardcore and punk with Stu Harvey shortfast@timeoff.com.au Apparently in Byron Bay the Parkway Drive sign continually gets stolen; our boys are in good company, because in New York City they have a similar problem with the street sign marking Joey Ramone Place. According to the New York Post, of the 250,900 street signs in New York, the sign erected in tribute to Ramones great is so often removed by Ramones fans that the city have now raised the sign to 20 feet off the ground, a full eight foot higher than regular street markers. Ramones drummer Marky suggests to the newspaper “But maybe they should find a better way to attach it. Now you have to be an NBA player to see it.” There was a rumour doing the rounds that Big Day Out was going to have Blink 182 on the bill… of course that wasn’t true. Other than Iggy & The Stooges, there is nothing for punk or hardcore fans. No doubt it will still sell out and shirtless dudes with Southern Cross tattoos will be stoked. Rise Records has announced the signing of Columbus, Ohio’s My Ticket Home. The five-piece recorded its debut EP The Opportunity To Be with Caleb Shomo, vocalist of Attack Attack!, who also appears on the track, Dead Weight. Rise will release the EP in early November. Rival Schools released one of the classic posthardcore albums United By Fate back in 2001. A second album was recorded, abandoned and never actually released. After many years in the wilderness they reformed in 2008 to start playing shows again (including 2009’s Soundwave) and now it seems in 2011 we may finally get a new Rival Schools album. News is that a new track, Shot After Shot will be released in November and rumour is an album will follow. Just a couple of days before they were due to land in Australia for their tour, Against Me! cancelled the tour and 50 other dates. No explanation other than “unforeseen circumstances” has been offered. Misery Signals were just here recently touring with The Amity Affliction on their Youngbloods tour and it seems all wasn’t well in the Misery Signals camp because it has been announced that guitarist Stu

Ross has left the band. Ross says, “Frankly, I just got tired of being in a metal band” A brief statement from the band confirms, “You may have heard-Stu has officially left MS. He’s our boy forever and we wish him the best with new endeavors. It’s been an honor.” Ross will apparently focus on his other project pop-punk act Living With Lions which he joined recently. ARIA Awards recognising heavy music. For years now the ARIA have had categories for urban, jazz, blues, comedy, world music etc. but no heavy music category. Finally that has changed with the addition of the “Best Hard Rock/Heavy Metal Album” category. Congratulations to the nominees Parkway Drive, The Amity Affliction, Airbourne, Dead Letter Circus and Violent Soho. Bring Me The Horizon. There Is A Hell Believe Me I’ve Seen It, There Is A Heaven Let’s Keep It A Secret. Sure it’s a shit title, but it’s a cracking album. It hits stores this Friday, make sure you check it out. Gang Of Four. Content is the title for their first new album in 16 years. They’ll be here for the first time on Soundwave 2011 and you can preview a new song Don’t Pay For The Farm now at tinyurl. com/newGOF4 The Black Pacific. Former Pennywise frontman Jim Lindberg is back with a new band that, um, sound like Pennywise. So if you’re a Pennywise fan, you’ll dig The Black Pacific. Harder Fatter Louder. For many of us the Fat Wreck Chords super cheap compilations served as a great way to be introduced to new bands. 2002 was the last one, but get ready because Harder Fatter Louder hits shelves Tuesday Nov 23. 22 tracks including new and previously released music from Banner Pilot, Dead To Me, NOFX, Smoke Or Fire, Flatliners, Old Man Markley and more. Stu’s back from holidays! Make sure you tune into Short Fast Loud at 10pm Wednesday for interviews with Bring Me The Horizon & Guttermouth and new music from The Black Pacific, Architects, Senses Fail and more!

Metal with Lochlan Watt

Open Frame hits The Powerhouse this week, and promises to be a “celebration of avante sound and media”, with “an eclectic, yet focused array of artists who each test for the boundaries of their given field.” The fifth year of the festival, Wednesday night will feature sets from Los Angeles psychedelic act Sun Araw, noise experimentalist Aiden Baker, and locals Pimmom/ Dapler Affect, with Thursday seeing Portland’s Grouper, doomy shoegaze Canadians Nadja and Brisbane’s Lawrence English get experimental. One night will cost $15 or $12 on a concession, and word is Thursday night is already sold out. This Friday at Monstrothic will be headlined by local Metallica tribute act Ride The Lightning, with support from locals Azreal and Sunshine Coast group Inhailed, the latter of which will be launching their album on the night. Noise-makers Adriatic will play upstairs alongside Canary and Mega Massive Rasta System, with $10 getting you full entry. Gold Coast melodic death metal merchants Widow The Sea are getting set to launch their recently released debut EP next week. Recorded by The Red Shore guitarist Roman Koester, Novella of The Ocean features six tracks and is available from the band’s webstore and through Skull And Bones Records now. You can catch them at Club Elsewhere on the Gold Coast on Thursday Oct 14, and at Thriller on Saturday Oct 23. Despite apparently selling out all three shows, more tickets have been released for Metallica’s World Magnetic Brisbane shows at the Brisbane Entertainment Centre with Lamb of God and Baroness on Saturday Oct 16, Monday Oct 18 and Tuesday Oct 19. Ticket prices range from $130 – $150. Having recently completed their first-ever tour of The USA, Geelong-founded group The Red

Blues ‘n’ roots with Dan Condon rootsdown@timeoff.com.au Jim Jones Revue

SHORT FAST REPORT TOP 5

ADAMANTIUMWOLF This Wednesday at The Step Inn you can catch Bane of Bedlam, New Zealand’s Subtract, Desolution and Eternal Rest, and also win a free double pass to see Savannah sludge lords Baroness at The Zoo on Sunday Oct 17. It’s free entry and pool as always from 7pm.

ROOTSDOWN

Shore have announced the launch tour for the recently released sophomore album, The Avarice of Man, which will feature national supports from Sydney deathcore act Thy Art Is Murder and Gold Coast hardcore group Third Strike. All the Queensland dates are all ages, and include Tuesday Nov 16 at Di Carlos, Rockhampton, Wednesday Nov 17 at The Fort, and Thursday Nov 18 at Shed 5, Gold Coast, with Brisbane’s Ironhide heading up for the Rockhampton show, and Signal The Firing Squad playing the other two. Speaking of Signal The Firing Squad, the Sunshine Coast death metal group will release their debut album Earth Harvest on Friday Oct 29 through Skull And Bones Records. There has been a few changes to this year’s ARIA Awards, with ‘Best Hard Rock/Heavy Metal Album’ being added as a new peer-voted category. Airbourne’s No Guts, No Glory, Dead Letter Circus’ This Is The Warning, Parkway Drive’s Deep Blue, The Amity Affliction’s Youngbloods and the self-titled release from Violent Soho are all up for the honour, and we’ll find out how the people have voted when the awards take place on Sunday Nov 7. Ex-Oracle of The Void and current Naxzul keyboardist Murmur has debuted his solo project Inclemency over at myspace.com/ inclemencyband. Much like his associated acts, the sound offered by the track The Salt and The Wind and The Cold is one that is black. Sunny Coast progressive metalcore five-piece Infinite Thought Process have posted a new recording of their track Mother Nature, Father Destroyer on their MySpace page. Originally released through Skull And Bones in 2007 on a split release with Naked Burn and Western Decay, the hugely revamped tune, which now guest vocals from The Amity Affliction frontman Joel Birch, will be released on the band’s debut EP soon. Melbourne progressive metal group Divine Ascension has recently revealed that Silvio Massaro of Vanishing Point will lay down guest vocals on two of the album’s tracks. An early 2011 release is expected from the female-fronted act.

Details have surfaced online this week that reveal the stunning Joe Bonamassa will be returning to Australia in the ﬁrst half of next year. A date has already been set for a Newcastle show, happening at the city’s Civic Theatre on Wednesday May 18, 2011. Bonamassa was in Australia for this year’s Byron Bay Bluesfest where he proceeded to tear the house down; but it looks at this stage as if next year’s tour will be a bit late to see him return to Tyagerah for the second year running. The 33-year-old guitarist is already a bit of a veteran, having been mentored by Danny Gatton at age 11 and opened for BB King at age 12. He’s one of the most highly regarded blues rock players around today and well worth getting excited about. We’ll give you more info as soon as it comes to hand. This year’s Big Day Out bill has dropped and certain blues and roots fans will undoubtedly be keen to catch John Butler Trio, Angus & Julia Stone and The Black Keys. If you are planning on heading along, we suggest seeing Iggy and the Stooges (duh), who were actually fantastic when they were last out – albeit with late, great guitarist Ron Asheton – Grinderman, whose dirty, whiskey drenched new record is well worth picking up and early rock’n’roll revivalists the Jim Jones Revue, who we are tipping to be the hidden gem of the 2011 festival. ARIA nominations are in for this year and the blues and roots category is going to be a hotly contested one yet again this year. The lucky nominees for best Blues and Roots album are Ash Grunwald’s Hot Mama Vibes, Dan Sultan’s Get Out While You Can,

Jeff Lang’s Chimeradour, John Butler Trio’s April Uprising and The Wilson Pickers’ Shake It Down. Undoubtedly a strong field and while the punters’ money will rest firmly on Mr Butler to take the gong, you wouldn’t want to count out Dan Sultan, who has had a cracking year, which culminated in a great showing at the 2010 Deadly Awards last week. Roots Down are throwing full support behind The Wilson Pickers, purely due to the quality of their record – and it’s a rare day that we go against Jeff Lang in any way, shape or form so take heed! One – nay, four – shows that you cannot afford to miss have just been announced last week and they sound real special. You can try arguing with us when we say that Paul Kelly is Australia’s finest ever songwriter, but that will fall on deaf ears. This man is good quality modern Australian storytelling personified and his lengthy and varied career has shown us all that he has so many tricks up his sleeve. His latest project is to head around the country performing four-night runs in each capital city, where he will perform 100 songs, in alphabetical order, from his enormous back catalogue. Organise your babysitter/take the nights off work/break up with your partner because you won’t want to miss him playing the Brisbane Powerhouse from Tuesday Nov 30 through to Friday Dec 3. Tickets go on sale from the venue on Friday and will go in a flash, so hop to it. If you’re down with blues rock then there are a couple of new releases that have just dropped on the predominantly metal-oriented label Roadrunner Records that are bound to turn some heads. Live! In Chicago is the new record from Kenny Wayne Shepherd and it is probably his most tasteful release to date. As the title suggests, it is a live record and features Kenny Wayne with some mighty cool players and legends of the game such as Hubert Sumlin, Willie “Big Eyes” Smith, Buddy Flett, Bryan Lee, Chris Layton & Tommy Shannon (who you might know from SRV’s Double Trouble), Riley Osburn, Noah Hunt and Scott Nelson. Bingo! is the new studio record from the Steve Miller Band and sees him tackling tracks from Otis Rush, B.B. King, Lowell Fulson, Jimmy Reed and Jimmie Vaughan. It’s been a while since we saw either band in Australia so maybe these new records will get them here. We’ll see.

THEBREAKDOWN Pop culture therapy with Adam Curley

Lately I’ve found myself involved in discussions on the term ‘hipsters’ and, more often, the topic of ‘hipster hate’. It may seem untimely to be having such conversations when publications like Adbusters and Time Out New York were running hyper-reactionary cover stories on the definitions of and ‘cultural threat’ of hipsters in 2008 (the first titled The dead end of Western civilisation; the second The hipster must die), but it could be argued that Australia is only now reaching the saturation point of hipster as visual cultural entity, or that it’s the backlash that is now being widely disseminated, or that the hipster as an ‘identity’ has reached the point of cultural detachment via media stereotyping and so is more able to be analysed from an objective position. Maybe it’s just that ‘Being A Dickhead’s Cool’ YouTube video. Who or what a hipster is and why they cause such strong reactions is a huge and complex discussion, but I thought I’d pose one possible angle from which to view it, if only to show how unthreatening the whole thing is. Firstly, I would argue that the term ‘hipster’ as ascribed in articles such as that in Time Out New York is tied to, or has over time taken on traits that tie it to, the notion of ‘subculture’ despite its ties also to more general fashion culture. These would include, but are not limited to, an identifiable demographic (age, class, location, etc), and behaviours that differentiate the ‘group’ from the ‘norm’. As with any talk of a group as a subculture, identifying traits vary by large degrees, ‘members’ can’t ever be separated from their ongoing relationship to the broader society and members may not count themselves as members (which has been seen to be the case most often since the idea of ‘belonging to a subculture’ itself has become part of common education and dismissed as naïve, or really since subcultures were ascribed their titles by media who wanted to sell their shared ideas as sensationalised stories). ie. Nothing exists in a vacuum. The reason for relating hipsters to subculture theory is because it’s in that discussion that it becomes clearer that, as ‘emos’ didn’t, hipsters don’t exist in reality as they exist in media (such as the Hipster

Runoff blog’s caricatures of hipsters, which also took the idea of ‘authenticity’ from subculture theory). Also, the broader cultural response to the term can be more easily analysed – the ‘us vs them’ response. It only really matters what the ‘them’ stands for in any subculture situation because it determines the severity of the response. When ‘outsider’ fashion is involved, males usually cop the brunt of criticism because it denotes a threat to masculinity, but in the case of hipsters – the demographic of which is often viewed to be educated, middle-class 20-somethings who value knowledge of obscure cultural products for the sake of being more ‘in the know’ and, hence, ‘culturally elite’ – there is also the threat of exclusivity, even if it’s viewed as false exclusivity. No one likes being made to feel they know less than someone else, even if they believe that person to be unqualified in taking that position. Add to that the view that almost anything can be appropriated into hipster culture if it’s seen as being ‘little known’ and is then ditched when it gains wider attention and a ‘lack of meaning or values’ also gets attributed. Nothing is held as irreplaceable, therefore nothing is meaningful, therefore hipsters stand for cultural vacuousness. This, I’d argue, is false. As with anyone who involves themselves with culture outside ‘mainstream’ norms, this search is a search for meaning and, yes, naff as it is, it’s about belonging. In fact, it’s almost exclusively about these things; when communication allows all things to become known by all people within small timeframes, therefore not allowing ‘ownership’ over any cultural product; when the value of creativity in broader society is virtually nil; when history is there to be picked over and tried on in the hope that it will provide some hint of purpose when there are no definitions or guidelines that haven’t been questioned, broken or made redundant through circumstance (which is often misinterpreted as irony and then derided as false cleverness or posturing cynicism). The point is, as a whole, this search for meaning, perhaps for a particular demographic, is earnest, its detractors mostly toeing the societal line, and the only people ruining culture are the ones who don’t add anything to it at all. Or maybe I just love my life as a dickhead.

HYH

HAVE YOU HEARD? If you could support any band in the world – past or present – who would it be? Fleetwood Mac – even if only to have a crack at their rider.

SIX PACK THE HISSYFITS ADRIAN KAY AKA ADROOL ANONYMOUS, DRUMMER AND VOCALIST WITH MISFITS TRIBUTE BAND THE HISSYFITS CATCHES UP WITH TONY MCMAHON TO TALK ABOUT HORROR PUNK AND, ERR, HIS MAMA. outﬁt Sled, so does that make them more of a tribute band? After all, they’re not belting out Smoke On The Water?

You’re being sent into space, you can’t take an iPod and there’s only room to bring one album – which would it be? Warren Zevon – Excitable Boy

Halls of Justice play Beetle Bar Saturday Oct 9 How did you get together? Dave Ross (guitar/vocals): “I was playing a series of solo shows at the Step Inn, and basically Doug (drums) walked up to me and demanded that we start a band. He is a pretty huge guy so that was it really. Sabrina (Bass) and I were standing there having a smoke and we both just complied really.” Sum up your musical sound in four words. Songs by Dave Ross.

Greatest rock’n’roll moment of your career to date? At Big Day Out, I think 2003, we stole Jet’s air conditioned trailer. It was really, really hot and the band I was playing in, KT26ers was on the early part of the bill and were delegated this plastic tent. It was screaming hot so we took the sign off our tent, wandered up the way and found this awesome trailer that was for Jet. We simply took the sign off their trailer, put it on the tent, put our sign on the trailer and proceeded to soak up the cool. About 47 minutes later we were interrupted by this skinny little curly haired tour manager who had 2 BDO bouncers with him, screaming and demanding our ejection from the venue. The guys from Magic Dirt (Dean and Adalita) managed to talk them out of booting us out; however we were relegated back to our plastic oasis! It was worth it. Why should people come and see your band? People should come and see us because the songs we are playing span ten years of writing material that has not fit with Wulvs, KT26ers and White Mansions. It’s a good cross section of tunes.

“Yes, cover band is misleading,” says Kay. “We don’t make nearly as much money as a cover band would. Apart from the die hard fan, there’s not many crowds out there who are willing to hire us for the night, let alone pays us. Suggest us to your mum. I’ll let her dig up my bone.” Naturally enough, one of The Hissyfits stated plans is to bring the horror back to music. Kay says that this was not one of the band’s original intentions and that it started off as more of an opportunity to explore different instruments.

The idea of a Misfits cover band is, of course, a real ‘why didn’t I think of that’ moment. Kay points out that there are plenty of other cover bands out there, but none like this one. “You always seem to come across bands covering AC/DC, KISS, and other pop artists like Britney Spears, but Misfits? It didn’t seem anybody was out there doing it, and their music is something that’s not only exciting to perform but it’s also catchy, quick and easy to pick up, much like your mum. Put a good word in for me, please?” Actually, is the term ‘cover band’ misleading? The Hissyfits boasts members of local

“To tell you the truth, it’s not something we actually planned. It started off as a bit of fun and a means to explore and perform with instruments we wouldn’t normally otherwise play, like in Sled. In saying that, while we’re definitely not the best musicians in the world, our mission was to break out into an energized Misfits tribute spectacular and get our fans to celebrate an awesome and irreplaceable type of music which is The Misfits. Watch this (lost in) space...” WHO: The Hissyfits WHERE & WHEN: The Jubilee Hotel Saturday Oct 9

ROCKINGHORSE RECORDS TOP 10 1. I Believe You Liar WASHINGTON 2. 2 GRINDERMAN 3. Interpol INTERPOL 4. Innerspeaker TAME IMPALA 5. Sigh No More MUMFORD & SONS 6. Memory Machine JULIA STONE 7. Birds of Tokyo BIRDS OF TOKYO 8. The Suburbs ARCADE FIRE 9. Dark is the Way, Light is a Place ANBERLIN 10. Guitar Heaven SANTANA

TIME WARP October 6, 1978 – Mick Jagger and

the Rolling Stones got into strife over the lyrics to Some Girls, probably over statements like “black girls just wanna get fucked all night”. To this day they remain the same.

October 7, 1967 - Cass Elliot,

from the Mamas and the Papas, is jailed overnight for evading a London hotel bill resulting in the cancellation of an upcoming show and TV appearance.

October 8, 1957 - Jerry Lee Lewis releases Great Balls of Fire. October 9, 1962 - “The Monster

Mash” (Bobby ‘Boris’ Pickett) is banned from BBC broadcasts, after being deemed grotesque and tasteless.

October 10, 1970 - Issue one of “Sounds” is released. It goes on to become a legendary rock newspaper in the United Kingdom.

MORE THAN HALFWAY THERE Brisbane based band Halfway are proud to announce they are back on the bus and are ready for more special performances. In 2008 the band won Queensland’s most prestigious songwriting award – The Grant McLennan Fellowship boasting a selection panel featuring members of The Go-Betweens, the McLennan family and Queensland Arts. The prize allowed the group to travel to London in November 2008. Whilst in London, they rehearsed, played acoustic shows, and wrote the initial framework to what would be their critically acclaimed release An Outpost of Promise. The octet are playing a handful of their own shows in October as well as support slots. Halfway play The Zoo on Thursday Oct 7 in support of America’s Jonneine Zapata, Friday Oct 8 in Queen Street mall as part of the QSL alt-country weekend and two sets at Ric’s on Saturday Oct 16, both acoustic and electric.

October 11, 1991 - After years of

dispute, Apple Computers ﬁnally manages to settle its trademark clash with the Beatles Apple Corps for a measly of $29 million.

October 12, 1962 - Little Richard opens for the Beatles in Liverpool. Five years earlier he had tossed four diamond rings into the Hunter River to prove he’d given up rock’n’roll for God… which obviously worked out well for him.

GRINDING AWAY

Grindah’s modern blend of hard rock is sure to perforate many an ear drum. The band has spent the past few years gigging vigorously and has snared the odd support here and there, as well as staging their own shows, which fans and critics have rhapsodized over. To date the band has produced three EPs. Each is a polished display of power and dynamism. The boys aim to get back into the recording studio in late 2010 to record more material. Grindah will keeping to their pledge of 100 percent eﬀort when they headline at The Beetle Bar Friday Oct 22 with Pin That Puppy and Geomantra.

GREAT SCOTTS!

BE COERCED

A band named after one of the greatest frontmen in Australian music? Why the fuck not! Don’t worry; The Bon Scotts are not a shitty AC/DC tribute band. The Melbourne avant-folksters are far fonder of little hooks and toe tapping rhythms, old guitars and warm tones. Bright pianos, broken bells and found sounds. The seven-piece are playing a string of east coast dates in support of their debut album: Oddernity and you can catch them at The Loft, Gold Coast Friday Oct 22 and The Troubadour Friday Oct 29. No requests for Dirty Deeds… will be taken, thanks.

Spending their time in Adelaide and Melbourne, Coerce have had a hectic past 12 months. They’ve released a debut album, toured with Karnivool and were featured in Triple J’s Next Crop not to mention they decimated their stint at the Adelaide Big Day Out. Following the online release of their new song Mogelmouth, along with a ﬁ lm clip this September, Coerce will head out on a national headline tour. You can catch the quartet at Rosie’s on Thursday Oct 28 (+18), Burst City on Friday Oct 28 (AA) and Shed 5 on the Gold Coast Saturday Oct 30 (AA).

SIX PACK CASS EAGER BONDI SONGSTRESS CASS EAGER RETURNS TO THE SPOTLIGHT WITH NEW EP DOWN ON MY KNEES BACKED BY A BRAND NEW BAND, THE VELVET ROPE. MADDIE LAKOS GETS THE LOWDOWN BEFORE EAGER HEADS OUR WAY TO SUPPORT THE RELEASE. if your imagination is plugged in,” she contemplates. “I always carry around a little book and I’m constantly writing down little snippets of conversation, signs I see, things I read, and anything that ﬁres the imagination ... Same with the music – I record ideas into my phone on the road and then check them out later... A lot of these ideas don’t get used but I think it’s about keeping that fun, childlike imagination inspired and open to everything!”

ON THE DOWNLOAD New rumblings on the Bright Eyes front: the Conor Oberst-driven outfit have returned to the spotlight with the release of new track Coyote Song. The song was recorded as part of The Sound Strike, which is a group of musicians and artists currently boycotting the state of Arizona for passing the SB 1070 bill, giving authorities the power to detain people suspected to be in the country illegally. You can purchase Coyote Song from The Sound Strike website (it’s cheap and it’s a good cause, Scrooges), but you can check out the video for free at the Alternative Press’ online address. [altpress.com] Oh, wow; apparently Underoath are not only still a band, but still very much an active band, with new album Ø (Disambiguation) set for release in early November through Tooth & Nail Records. In honour of the release, the hard rockin’, hard yellin’ outfit have made new song Illuminator available on their website for everyone to check out and frighten small children with. And when we say ‘have made available’, we mean ‘have left autoplaying on their homepage’, because that’s how hardcore bands do it, mother-bitches. [underoath777.com] Sydney-based alt-rockers Cameras are preparing themselves for a mammoth few months: not only do they have their debut EP on the way (it drops Monday Oct 18), but they’re playing a spot at the respected One Movement Festival in Perth this weekend as well as upcoming shows in Melbourne and their hometown. Before these exciting happenings though, Cameras are previewing a second song from the EP for your listening pleasure. Entitled Kreuzberg, the track follows the release of Polarise, which itself has been receiving solid responses from independent music fans and radio stations alike. All this should give you an indication of the kind of act we’re dealing with here: an up and coming outfit with an already impressive resume and only bigger things ahead of them. [cameras.bandcamp.com] Canadian experimental-pop up-and-comer Rich Aucoin has released his Public Publication EP as a preview of his upcoming full-length of the same name. Renowned music site absolutepunk.net has thrown everything behind the guy in getting the word out about him, even going so far as to make the EP available for streaming on their site. Described as the proverbial lovechild of a “musical threesome” between Daft Punk, Sufjan Stevens and Justice, Aucoin ticks all the boxes when it comes to quirky off-kilter indiepop. Head to AP (you’ll have to register, but it’s quick and free) to check him out. [absolutepunk.net]

“The guys and I have all known each other for a few years and we’ve been on tour with each other in diﬀerent line-ups so we’re all really comfortable playing together,” Eager says of coming together with the other members in her band. “I’ve always been open to letting the song ‘go’, from being written on an acoustic in the bedroom to the full-ﬂedged rockin’ out on stage song. I’ve always left it up to the musicians to carry it to its next destination.” By extension, Eager’s entire musical process is a natural one, as she draws inspiration from nearly everything she sees. “You know, I think every waking moment can be an inspiration

Eager even has travel and cultural experience in Queensland, meaning she shouldn’t have a problem adjusting when she arrives for her tour. “I’ve only played Queensland a few times in the last couple of years so I’m really happy to be coming back,” she enthuses. “I spent every summer holiday as a kid in Hervey Bay where my Grandparents lived so I feel like a part-Queenslander!” WHO: Cass Eager WHAT: Down On My Knees (Waterfront Records) WHERE & WHEN: The Rails, Byron Bay Thursday Oct 7, The SoundLounge, Currumbin Friday Oct 8, The Royal Mail Hotel, Goodna Saturday Oct 9, The Zoo Saturday Oct 9, Caloundra Music Festival Sun Oct 10

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WED 06

Abby Skye The Tempo Hotel Bane Of Bedlam, Subtract, Eternal Rest, Desolution Step Inn Ektoise, Jim Grundy Ric’s Fever Pitch, Columbia Buﬀet, Macho Grande Club 299 Geoﬀ Rayner Fibber Magee’s, Toowoomba Huntsman, Broken Dog, Self Percussion The Troubadour Open Frame Festival: Grouper, Sun Araw, Nadja, Aidan Baker, Lawrence English, Pimmon Brisbane Powerhouse Rooftop Open Mic The Music Kafe Power Play The Code Bar & Nightclub Soula’ Flare Glass Bar & Restaurant The Big Duo Irish Murphy’s, Brisbane City The Bowery Hot Five With Mal Wood The Bowery Tyson Faulkner Fiddlers Green Young Bloods, Blood Transfusion The Zoo

THU 07

Abby Skye Story Bridge Hotel Adrian Keys Tinbilly Travellers Alexisonﬁ re, Break Even The Tivoli Ballad Boy Loving Hut Cass Eager & The Velvet Rope, Claude Hay Railway Bar, Byron Bay Clare Bowditch, Glenn Richards, Little Scout Surfers Paradise Beer Garden Dead Letter Circus Shamrock Hotel Diesel City Golf Club Toowoomba Friends Of Ben, Dunsinane X & Y Bar Funku, Kris Jay, Kayli, Andy Ski Gilhooley’s Loganholme Funky Miracle Press Club Glenn Ashley Coolangatta Hotel Graeme Connors, Charlie Mayfair, Irah, Mattie Barker The Arts Centre Gold Coast Jabba Irish Murphy’s, Brisbane City Jazz Singers Jam Night Brisbane Jazz Club Jazz Under The Stars At Cloudland Cloudland Jeﬀ Carter Elephant & Wheelbarrow Jonneine Zapata, Halfway, Daisie May The Zoo Kill The Music Fundraiser Club 299 Kye Cole, At Band The Music Kafe Michael Geeves Oxford 152 Montgomery Fibber Magee’s, Toowoomba Nik Phillips Victory Hotel Open Frame Festival Brisbane Powerhouse Rooftop QSM Live: Simon Asquith Burnett Lane, CBD Rob Black Ryan’s Bar, Treasury Casino

Rosie Burgess Trio, The Hussy Hicks The Joynt Shannon Barnett Quartet Jazzworx Simon Watson Gilhooley’s Brisbane The Arachnids, The Villain, Free Agent Crew Ric’s The Bairn, Amanda Gilmour, The Westerlies The Bug The Chardonnay Sippers Royal George, Nambour The Club House: Archdukes, Golden Tones, Massai The Tempo Hotel Stage Door The Satellites The Bowery The Seabellies, Fire! Santa Rosa, Fire! The Troubadour Who Is John The Tempo Hotel You And I: An Intimate Evening With Petula Clark QPAC Concert Hall

FRI 08

Abby Skye Jubilee Hotel Adrian Keys The International Hotel After Glow Four Mile Creek Hotel Akasa Sherwood Services Club Andrew Campbell Rochedale Rovers Andy Dickson Q Bar Holiday Inn Ben Eaton Trio Grand Central Hotel Benjam Burleigh Heads Hotel Blind Lemon Cabarita Beach Resort Blindchase Wilsonton Hotel Brazen Bull The Fort Buick Six, The Vignettes, Lola The Vamp Ric’s C4 Chatswood Hills Tavern Caloundra Music Festival: Powderfinger, Jet, Jimmy Barnes and more Kings Beach Park Precinct Cass Eager, Claude Hay, Hussy Hicks Soundlounge Currumbin Chad Shuttleworth Palmwoods Hotel Clare Bowditch & The New Slang, Glenn Richards, Little Scout The Hi-Fi Diesel Kedron Wavell Services Club DJ Quintrixx Narangba Valley Tavern DJ Toxic Beerwah Hotel Fat Albert Broadbeach Tavern Generation Jones Kedron Park Hotel Geoff Rayner Horse & Jockey Warwick Glenn Esmond Arundel Tavern Hailey Calvert Globe Theatre Hemi Kingi Trio Wynnum Point Hotel Honey Live Wire Bar, Treasury Casino Husk Cleveland Sands Hotel Jabba, Flash Back Irish Murphy’s, Brisbane City Jeff Carter, Jon Stevens, Michael Paynter Hamilton Hotel Jessiah Criterion Dalby Jimi Beavis Locknload West End

Josh Henry Racehourse Hotel Kaos Jimboomba Country Tavern Live Jazz Redefined Restaurant Wine Bar Locky, Berst Elephant & Wheelbarrow Macka Club Hotel Waterford Mick Evans Murrumba Downs Tavern Mike Barber Ryan’s Bar, Treasury Casino Mojada Great Northern Hotel Byron Bay Mojo Juju & The Snake Oil Merchant The Joynt Monkey Business Albany Creek Tavern Mr Perkins O’Malley’s Irish Bar, Mooloolaba Nigel Jones Hotel LA Osmium, Mirrors, Exploder, Erase The Thought, Born From The Ashes Miami Tavern Shark Bar Paradise City Oompa Meisters QUT Gardens Point Guild Bar Powerplay The Retreat Hotel Pugsley Buzzard Brisbane Jazz Club QSM Live: Ange Takats, Georgia Fields Burnett Lane, CBD QSM Live Alternative Country Weekend: Candice Long, Halfway Queen Street Mall Ramjet Surfers Paradise Beer Garden Red Thursday Gilhooley’s Brisbane Rushmore Royal Exchange Hotel Saint Arther Duo Prince Of Wales Hotel Samuel Jared Spring Lake Hotel Scott Spark, Inland Sea, Bigstrongbrute The Zoo Seventh Avenue Miami Tavern Simon Kennedy Fernvale Hotel Simon Watson Trio The Tempo Hotel Soloist Fridays Birdee Num Num Stairway Victory Hotel Syd Wilson Dublin Docks Tavern The Bohemian Masquerade Ball A & I Hall Bangalow The Brickfields, Mad World The Music Kafe The Clark Stanley Music Hour and more The Beetle Bar The Club House: Fractions The Tempo Hotel Stage Door The Darren J Ray Duo Yeronga Services Club The Decoys Hotel HQ The Febs Fibber Magee’s, Toowoomba The Front Alderley Arms Hotel The Geoff Green Trio The Point Restaurant The Green Sinatras Edinburgh Castle Hotel The Kate Mackie Quartet Gertie’s Restaurant And Bar The Map Project Kawana Surf Club The Ninja’s X & Y Bar The Walters The Boundary Hotel TLD Wharf Tavern Todd Burns Centenary Tavern

Treva Scobie Southern Hotel Toowoomba Two Way Active Buderim Tavern Two Way Street The Palace Hotel Tyson Burrell Eleven 17 Velociraptor, Keep On Dancin’s, Tiny Migrants, Thee Hugs The Troubadour Velvet Kiss Imperial Hotel Beenleigh Venus Envy Fusion Villa Noosa Vertigo Hinterland Hotel Viper Room Benowa Tavern You And I: An Intimate Evening With Petula Clark Twin Towns

SAT 09

Abby Skye Titanium Bar Adrian Keys Waves Bar, Nth Stradbroke After Glow Miami Tavern All Hell Breaks Loose 3, Misﬁts Tribute Night 320 On Leichhardt Anger In Motion, One Shot Salute and more Prince Of Wales Hotel Beerwah’s Got Country, The Smokin’ Crawdads, Kate Cook Beerwah Hotel Black Bear Woods, Bell Weather Department Ric’s Blind Willy Wagtail Bangalow Hotel Blues Association Birthday The Zoo Bon Voyage Label Party King George Square Bone Lazy Paciﬁc Pines Tavern Byron Short Rochedale Rovers Caloundra Music Festival Kings Beach Park Precinct Chris Ramsay Southern Hotel Toowoomba Dachunga Gilhooley’s Strathpine Dave Kemp Gertie’s Restaurant And Bar Dave Ritter Fibber Magee’s, Toowoomba Diesel Logan Diggers Club Downlode Broadbeach Tavern Fretfest Final Showcase QPAC Cascade Court Fretless Delay Grand Central Hotel Georgia Fields Brisbane Powerhouse Grand Alpha Funk Live Wire Bar, Treasury Casino Grant Carruthers, The Incredible Kicks and more Miami Tavern Shark Bar Hemi & 2 Stroke, The Royal Artillery and more The Music Kafe Hot Escape, Branded, Pin That Puppy Springwood Hotel Hussy Hicks, Cass Eager and more Royal Mail Hotel Goodna Jabba Surfers Paradise Beer Garden Jessiah The Palace Hotel Kill The Music Fundraiser Rosie’s Layla Harrington Centenary Tavern Legions Of Mary, Some Jerks, Halls Of Justice The Beetle Bar Marco Redland Bay Hotel Massai, The Shake Up, The Moderns Club Envy

YOUTUBE OF THE WEEK YOUTUBE

OF THE WEEK Buddy Rich vs Animal

In honour of what would have been Buddy Rich’s 93rd birthday last Thursday (he passed away in 1987), you should have a look at the man who was once touted as the World’s Greatest Drummer taking on the world’s second greatest: the madly-flailing Muppet skinsmith Animal. The two duelled it out in Rich’s twilight years for a Muppets show, and despite his clearly advanced age in the video, the dude still owns the kit with the finesse and power of a drummer 30 years his junior. People have tried to compare modern drummers like Travis Barker to Rich, but really, you can’t. You simply can’t. Search for: “Buddy Rich vs Animal”, and remember the Greatest. Michelle Brown Duo Maroochydore SLSC Nik Phillips Victory Hotel Powderfi nger, Jet, The John Steel Singers Uni Of Southern Qld QSM Live Alternative Country Weekend Queen Street Mall Red Thursday Gilhooley’s Chermside Sam Calder Mooloolaba Bowls Club Shannon Marshall And The 20 Buck Dessert Brisbane Jazz Club Simon Kennedy Narangba Valley Tavern Smudge, Little Scout The Troubadour Stairway Lansdowne Tavern Terry Chapman Alderley Arms Hotel The Bohemian Masquerade Ball Old QLD Museum The Club House: Charlie Mayfair The Tempo Hotel Stage Door The Darren J Ray Duo Coolangatta-Tweed Golf Club The Fumes, Elliot Brood, Transvaal Diamond Syndicate Step Inn The Optimen, Rainman, Vegas Aces and more The Hi-Fi The Roger Gonzalez & Rohan Somasekaran Trio Cuvee Lounge Bar, Sofitel The Sugarshakers Locknload West End Venus Envy Elephant & Wheelbarrow Waka Waka Festival, Salsa Brava The Tempo Hotel Waxing Lyrical: Georgia Fields, We All Want To, The Yearlings Brisbane Powerhouse Turbine Platform

SUN 10

A Taste Of Lilith Brisbane Convention and Exhibition Centre Adrian Keys Waves Bar, Nth Stradbroke After Glow Dublin Docks Tavern Akasa Southport Sharks Annie Jeﬀ s Beerwah Hotel Blind Willy Wagtail Railway Bar, Byron Bay Brad Wild Gilhooley’s Loganholme Brisbane Big Band Brisbane Jazz Club

Caloundra Music Festival: Powderﬁnger, Jet and more Kings Beach Park Precinct Chris Ramsay, Owie Fibber Magee’s, Toowoomba Clare Bowditch, Glenn Richards, Little Scout Irish Club Hotel, Toowoomba Clare Hansson Trio Grand View Hotel Clark Brick Waterfront Hotel Craic’n Sundays Irish Murphy’s, Brisbane City Diesel Joe’s Water Hole Eumundi Downlode Miami Tavern Exposed Sundays Ric’s Goran Sedlar Duo Redland Bay Hotel Hippopotamus Broadbeach Tavern Jackie Marshall Era Bistro Jam Night The Music Kafe Josh Henry Brook Hotel Leon Ferny Grove Tavern Live Spark Brisbane Powerhouse Turbine Platform Mark Bono Burleigh Heads Hotel Michelle Brown Duo Sunshine Beach SLSC Miranda and Ewan Play Jazz Manouche Belle Epoque Powerplay The Code Bar & Nightclub Pugsley Buzzard Ivory Hotel QSM Live Alternative Country Weekend Queen Street Mall Ryan Meeking Noosa Surf Club Sheez Jake Palmwoods Hotel Sunday Session, Corn Liquor The Tempo Hotel The Satellites The Bowery Tramp Fiesta, Card Houses X & Y Bar Treva Scobie Southern Hotel Toowoomba Venus Envy Royal Exchange Hotel Woody, Jabba & Carl Elephant & Wheelbarrow

MON 11 Elliot Brood The Shire Flanelette The Music Kafe Jeﬀ Carter Irish Murphy’s, Brisbane City The Ride, Papperbok Ric’s

Q MUSIC IS A NOT FOR PROFIT ORGANISATION SUPPORTING QUEENSLAND MUSIC, MUSICIANS AND INDUSTRY WORKERS. THIS COLUMN WILL PRESENT YOU WITH INFORMATION ON GRANT AND EXPORT OPPORTUNITIES, CONFERENCES AND THE GENERAL LOW-DOWN ON THE STATE’S MUSIC INDUSTRY. INTERNATIONAL SHOWCASE OPPORTUNITIES AVAILABLE AT MUSEXPO LA AND THE GREAT ESCAPE Queensland artists are invited to submit for showcasing opportunities at two international music industry events – MUSEXPO LA 2011 and The Great Escape 2011 (UK). Artists interested in applying will need to fulfill certain selection criteria and be able to financially commit to take up the opportunity if selected. Q MUSIC AND BRISBANE POWERHOUSE ANNOUNCE METRO SERIES WORKSHOPS Q Music in partnership with the Brisbane Powerhouse is pleased to bring you a professional development program aimed at musicians and music industry workers of all ages. Each Wednesday evening throughout November the Turbine platform will host FREE workshops from 6pm – 8pm. This series will canvass a broad range of topics and also features a special session aimed at guitar enthusiasts. APPLICATIONS OPEN FOR 2011 JUMP NATIONAL MENTORING PROGRAM Youth Arts Queensland and its State Delivery Partners invite artists from across Australia to apply for the 2011 JUMP national mentoring program for young and emerging artists. JUMP identifies and promotes excellence in artistic practice amongst artists aged 18 – 30, who are in the first five years of their professional practice. Full JUMP details including application forms can be found at jumpmentoring.com.au. Applications close Friday Oct 22. NETWORKING FORUM ON BRAND MATCHING FOR MUSIC EXPORT Trade and Investment Queensland invite you to take part in an interactive panel discussion on how music and brands can partner. Held on the evening of Monday Oct 18 at Barsoma the forum will help you identify who would be a good partner for your business, and what you have to offer as well as forming relationships to promote artists and brands simultaneously into export markets. QUT OFFERS FREE LEGAL ADVICE CLINIC IPTLC (Intellectual Property and Technology Law Clinic) is an initiative of the Queensland University of Technology Faculty of Law in conjunction with QPILCH (Queensland Public Interest Law Clearing House). The clinic provides free legal advice and legal services to members of the arts and technology communities who cannot otherwise afford to consult a lawyer. Advice is provided face to face at the QUT office in Brisbane with the next available session being held on Thursday Oct 14. Advice is by appointment only. Contact: Cheryl Foong on (07) 3138 2046 or cheryl.foong@qut.edu.au. NEED MORE INFO? WANT TO BECOME A MEMBER? For these stories, membership details, application forms, and more go to www.qmusic.com.au.

Tuﬀ y, Az The Normanby Hotel

TUE 12

Amber Williams Elephant & Wheelbarrow Back To The Tivoli Twin Towns Claude Hay, Julia Rose Ric’s Escalate Indie Label Special: The Tempo Hotel Gonzales 3 The Bowery

Luna Junction, Mark Bono, Connor Cleary The Music Kafe Paul Young Trio Locknload West End Southern Cross Soloists - Showcase Concert QPAC Concert Hall Woody Lives Here Irish Murphy’s, Brisbane City

WEDNESDAY OCT 6

HUNTSMAN

+ BROKEN DOG + SELF PERCUSSION DOOR $5/ 8PM

THURSDAY OCT 7

SEABELLIES

+ ROCKETSMITHS + FIRE! SANTA ROSA, FIRE! DOOR $13 PRE-SALES: $10 (PLUS BOOKING FEE) OR $20 (TICKET AND ALBUM) / 8PM

FRIDAY OCT 8

VELOCIRAPTOR + KEEP ON DANCINS’ + TINY MIGRANTS + THEE HUGS DOOR $8 / 8PM

SATURDAY OCT 9

SMUDGE

+ LITTLE SCOUT + PAUL DONOUGHUE DOOR $18 PRE-SALES: $15 (PLUS BOOKING FEE) / 8PM

NEXT WEEK: GALAPOGOS (FORMERLY COHAGON QUAID) WITH LEMONGRASS AND THE SLOW PUSH. RYAN MEEKING WITH KINDREAD AND BRETT GADENNE. PLUS ONE RECORDS PRESENTS WE ALL WANT TO ALBUM LAUNCH WITH SILENT FEATURE ERA / INLAND SEA BARBER (CANADA) LOVING HATING IT TOUR 2010 WITH GABRIELLE & CAMERON (DEAD LETTER CHORUS)

THE TROUBADOUR

Level 2, 322 Brunswick St, Fortitude Valley (next to Cosmopolitan Cafe in the Valley Mall)

www.thetroubadour.com.au http://troubadour.oztix.com.au Bookings and enquiries: thetroubadour@grafﬁti.net

321 BRUNSWICK STREET MALL, FORTITUDE VALLEY WEDNESDAY 6 OCT LE PARTI SOUL W DJ REDBEARD (8PM) EKTOISE (9.30PM) + JIM GRUNDY (8.30PM)

FRIDAY 8 OCT BUICK SIX (9PM) + THE VIGNETTES (8PM) + DJ VALDIS (8PM) UPSTAIRS: LOLA THE VAMP & FRIENDS (8PM) + DJ BENJAMIN BOUNCE (8PM) DOWNSTAIRS:

SUNDAY 10 OCT ‘EXPOSED’ HEAT # 9

THE BLACK WALLS – 7PM DITCHPANTS – 7.30PM WHAT LIES BENEATH – 8PM ALMARYSE & THE FRILL OF THE FIGHT – 8.30PM POLAROID BAG – 9PM FLOATING BRIDGES 10PM

TUESDAY 12 OCT CLAUDE HAY (9.30PM) + JULIA ROSE (8.30PM)

THURSDAY 7 OCT THE ARACHNIDS (9PM) + FREE AGENT CREW (8PM) + DJ VALDIS (8PM)

SATURDAY 9 OCT DOWNSTAIRS: BLACK

BEAR WOODS (9PM) + BELL WEATHER DEPARTMENT (8PM) + DJ VALDIS (8PM) UPSTAIRS: DJ CUTTS (8PM)

MONDAY 11 OCT THE RIDE (9.30PM) + PAPERBOK (8.30PM)

FREE LIVE MUSIC AND INDIE DJS

WANT TO PLAY? EMAIL

BOOKINGS@RICSBAR.COM.AU

WWW.RICSBAR.COM.AU 51

BRISBANE POWERHOUSE ROOFTOP

Wednesday Open Frame Festival: Grouper, Sun Araw, Nadja, Aidan Baker, Lawrence English, Pimmon Thursday Open Frame Festival: Grouper, Sun Araw, Nadja, Aidan Baker, Lawrence English, Pimmon

BRISBANE POWERHOUSE TURBINE PLATFORM Saturday Waxing Lyrical: Georgia Fields, We All Want To, The Yearlings Sunday Live Spark: Silent Feature Era, The Yearlings

COOLANGATTA HOTEL Thursday Glenn Ashley

ELEPHANT & WHEELBARROW Thursday Jeﬀ Carter Friday Locky, Berst Saturday Venus Envy Sunday Woody, Jabba & Carl Tuesday Amber Williams

FUSION VILLA NOOSA Friday Venus Envy

GLOBE THEATRE Friday Hailey Calvert

GREAT NORTHERN HOTEL BYRON BAY Friday Mojada

JUBILEE HOTEL Friday Abby Skye Sunday No Problem, Morningside Fats

MIAMI TAVERN

Friday Seventh Avenue Saturday After Glow Sunday Downlode

MIAMI TAVERN SHARK BAR Friday Osmium, Mirrors, Exploder, Erase The Thought, Born From The Ashes Saturday Grant Carruthers, The Incredible Kicks, Stellar Green, David Aurora

QPAC CONCERT HALL Thursday You And I: An Intimate Evening With Petula Clark

Tuesday Southern Cross Soloists Showcase Concert: Happy Birthday Schumann!

QUT GARDENS POINT GUILD BAR Friday Paradise City Oompa Meisters

RIC’S Wednesday Ektoise, Jim Grundy Thursday The Arachnids, The Villain, Free Agent Crew Friday Buick Six, The Vignettes, Lola The Vamp Saturday Black Bear Woods, Bell Weather Department Sunday Exposed Sundays, The Black Walls, Ditchpants, What Lies Beneath, Almaryse & The Frill Of The Fight, Polaroid Bag, Floating Bridges

Monday The Ride, Papperbok Tuesday Claude Hay, Julia Rose

ROSIE’S Saturday Kill The Music Fundraiser: 4 Dead, Coma Lies, Too Late Escape, Fires Of Waco, Deceiver, xStrength Through Purityx

STEP INN Wednesday Bane Of Bedlam, Subtract, Eternal Rest, Desolution Saturday The Fumes, Elliot Brood, Transvaal Diamond Syndicate

SURFERS PARADISE BEER GARDEN Thursday Clare Bowditch, Glenn Richards, Little Scout Friday Ramjet

SIX PACK

Saturday Jabba

THE HI-FI Friday Clare Bowditch & The New Slang, Glenn Richards, Little Scout Saturday The Optimen, Rainman, Vegas Aces, Impossible Odds, Broadkast, Winnie Coopers DJ Set

THE TEMPO HOTEL Wednesday Abby Skye Thursday Who Is John Friday Simon Watson Trio Saturday Waka Waka Festival, Salsa Brava Sunday Sunday Session: Corn Liquor Tuesday Escalate Indie Label Special

Saturday Smudge, Little Scout

Thursday The Club House: Archdukes, Golden Tones, Massai Friday The Club House: Fractions Saturday The Club House: Charlie Mayfair, Dan Parsons, Bonﬁre Nights, Montpelier

Wednesday Young Bloods, Blood Transfusion Thursday Jonneine Zapata, Halfway, Daisie May Friday Scott Spark, Inland Sea, Bigstrongbrute Saturday Blue Association Birthday, Chase The Sun, Dillion James & The Tone-Bakers, The Blues Doctors, Cass Eager

THE TIVOLI Thursday Alexisonﬁre, Break Even

THE TROUBADOUR Wednesday Huntsman, Broken Dog, Self Percussion Thursday The Seabellies, Fire! Santa Rosa, Fire! Friday Velociraptor, Keep On Dancin’s, Tiny Migrants, Thee Hugs

THE ZOO

X & Y BAR Thursday Friends Of Ben, Dunsinane Friday The Ninja’s Sunday Tramp Fiesta, Card Houses

SIX PACK

CLAUDE HAY

MISÈRE

FROM HIGH UP IN THE BLUE MOUNTAINS COMES CLAUDE HAY, A ONE MAN BAND WITH DIY SKILLS AS DIVERSE AS THEY ARE PRACTICAL. MITCH KNOX TAKES THE TIME TO FIND OUT WHAT IT’S LIKE TO BE SO HANDY.

LOCAL ELECTRO-POP UPSTARTS MISÈRE ARE TAKING THE LOCAL SCENE BY STORM, HAVING PLAYED THIS YEAR’S PARKLIFE FESTIVAL DESPITE THE GROUP’S RELATIVELY SHORT LIFESPAN TO DATE. MITCH KNOX CATCHES UP WITH DAVID GROSZEK ON THE EVE OF THE BAND’S FIRST ANNIVERSARY FOR A QUICK HISTORY LESSON.

hands-on his approach is. He even built his motor home to tour-ready speciﬁcations.

“Our sound is very electronically inspired ... we take a pop approach to writing our dance songs and try to make them inspiring and epic ... we also have a more indie pop side to some of our songs.”

“I built my motor home that I tour in,” he says matter-of-factly. “It’s got a shower, kitchen, and soon a little recording studio in it. I always carry my tools with me; even the other day touring through Melbourne the accelerator pedal came off; out came the kit and I was on my way in no time.” Generally people are impressed enough by the fact that someone can play an instrument. For Blue Mountains singer/songwriter Claude Hay, the impressiveness-factor jumps even more when you find out that he actually built those instruments he handles so fluidly. Hay says he’s been honing the skill since a young age. “I guess I started pulling guitars apart and moulding them from an early age, around 12 or 13,” he recalls. “I read all the guitar self-help books and like most people got better bit by bit; later on in life I worked in musical instrument shops around Sydney repairing [guitars]. I still today have a few more ideas in my head what I next would like to build, but it’s hard to find time nowadays.” That’s not surprising; it’s amazing the man has time to do anything musical at all with how

THE TEMPO HOTEL STAGE DOOR

Having released his sophomore full-length Deep Fried Satisfied to positive reviews, it seems only bigger things lie in wait for Hay, first finishing up his tour of the nation and then flying out “to America to do some promo for the new album,” he says. “My new label in the US have got me on this radio that has over 14 million listeners, so that’s going to be a bit of a blast!” WHO: Claude Hay WHAT: Deep Fried Satisfied WHERE & WHEN: The Rails, Byron Bay Thursday Oct 7, The SoundLounge, Currumbin Friday Oct 8, Caloundra Music Festival Sunday Oct 10, Ric’s Bar Tuesday Oct 12

The newly-formed quartet have had a blinder of a first year. Not only did they nab a spot at Parklife but they’ve just finished recording their debut EP. “[We] are currently in the process of getting it mixed and mastered, hopefully with a release date very soon,” Groszek says. “Besides that, we have all been keeping busy playing shows – Parklife was great – and writing some new tunes.” Groszek and bandmate Jordan De Paz formed Misère “in a period where [we] were both unemployed for a while,” he explains. “We recruited Joel on the drums and we really didn’t know what the sound was going to be. We had 4 synths and a Kaoss pad, so it was always going to be dancey. We threw round ideas of what we wanted to sound like and bands like LCD Soundsystem came to mind, Midnight Juggernauts, and Cut Copy, but what came out was something we all didn’t really expect. We played our first gig in August 2009 with just the three of us, but then realised we needed another layer to our sound, so then we added Ryan to the roster and now we’re a four-piece.

Although he admits there are “no real plans yet”, Groszek indicates the band’s enthusiasm about playing at Summaﬁeldayze next year. But that’s not all that’s on the calendar before the band turns two: “We want to be on a record label, gigging around Australia and also playing at festivals, hoping to crack into the international scene,” he enthuses. “We will hope to have a debut album in the works as well.” WHO: Misère WHERE & WHEN: Birdee Num Num Sunday Oct 10

BRISBANE POWERHOUSE PRESENTS //

WEEKEND SESSIONS

FREE EVENTS THIS WEEKEND AT BRISBANE POWERHOUSE THIS FRIDAY 6PM

THE RESIDENTS They’re fresh, they’re free and they’re moving in. A new band makes Brisbane Powerhouse their home each month.

THIS SATURDAY 5PM

WAXING LYRICAL 9 OCTOBER GEORGIA FIELDS + SCOTTY REGAN + THE YEARLINGS

Great singer/songwriters are a rare and impressive breed able to effortlessly marry poetry of words with a magical melody.

THIS SUNDAY 3.30PM

LIVE SPARK

10 OCTOBER SILENT FEATURE ERA + THE YEARLINGS

Featuring the best indie pop/rock talent from Brisbane and beyond.

THIS SUNDAY 6.30PM

LIVEWIRED

10 OCTOBER AVA VIDEL (UK)

Presented by

Funny, free and freakin’ awesome.

This October Fright Nights at Warner Bros. Movie World will be the scariest yet, when your favourite theme park is transformed into a playground of nightmares.

* $4.95 booking fee applies per transaction on purchases through myfun.com.au. $5.95 booking fee applies per transaction on purchases through 133 FUN. Credit card surcharges apply. Fees subject to change without notice. Entry conditions apply. WARNER BROS. MOVIE WORLD and logo and all related characters and elements are trademarks of and © Warner Bros. Entertainment Inc. A NIGHTMARE ON ELM STREET and all related characters and elements are trademarks of and © New Line Productions, Inc. (s10)

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MORE INFO BRISBANEPOWERHOUSE.ORG 07 3358 8600

BEHIND THE LINES SOUND RECOGNITION BROUGHT TO YOU BY

BEHIND THE LINES WITH MICHAEL SMITH BTL@STREETPRESS.COM.AU

THE EP-34 TAPE ECHO PLUG-IN

The new EP-34 Tape Echo plug-in, which gives guitar players and mix engineers the rich, warm tape delay effects of vintage Echoplex units, is now available on the UAD-2 Powered Plug-Ins platform for Mac and PC. Unlike other Echoplex emulations, the Universal Audio EP-34 Tape Echo plug-in is the first that targets specific behaviours of both the EP-3 and EP-4 Echoplexes, much cherished by musicians and engineers alike.

RICKENBACKER PRESENTS THE CHEYENNE It’s interesting that Rickenbacker are making a point of saying that their latest line of bass guitars are made “using only American farm-grown sustainable woods” – good to see. They recently released the latest model in their 4000 series basses, the 4044Cii Cheyenne, sculpted from solid maple and walnut, with an Eastern Maple neck running the full length of the bass. It features two humbucking pickups, Schaller M4 machine heads and weighs in at just 3.6 kg, and being Rickenbacker, it’s always worth checking out at your local stockist.

FROM THE VALLEY TO THE STUDIO Founding member of post-hardcore five-piece The Valley, which broke up in 2008, Sonny Truelove, has set up a new studio just out of Gosford on the NSW Central Coast. After the band split, Truelove had initially set up STL Studios in Sydney and began engineering, producing and mixing records for a number of artists from around Australia including the second album by Angelas Dish. The idea behind relocating was the opportunity to set up a studio that includes accommodation for up to six people, and to make a world-class recording for an affordable cost. The studio includes a Mac Pro 2.66Ghz, Avalon VT737s, Vintage Series Vacuum Tube, RFQ 32-band graphic equaliser, 24-bit Digital Effects Processor, Presonus Firestudio, Alesis MkII, Samson Reference Monitors, Logic 9 and ProTools LE, as well as a great range of microphones. Among the first artists to utilise the new facility are The Creations, who have recorded and mixed their debut album there. For more information, visit sonnytruelove.com. Dimi Dero

Upon the announcement of the “Artisan” ARIA Awards, MICHAEL SMITH speaks to ANGUS & JULIA STONE and WAYNE CONNOLLY about their respective victories.

he first of a series of ARIA events scheduled to run over the next couple of months, the 2010 ARIA Nominations Event, held at Sydney’s Conservatorium of Music, also saw the announcement of the winners of this year’s four “Artisan” awards, including the Producer of the Year and the Engineer of the Year. The awards went to siblings Angus & Julia Stone, who received six nominations in all, for their production work on their second album, Down The Way, and to Wayne Connolly for his engineering work on Paul Dempsey’s debut solo album, Everything Is True, though the award itself was specifically for his work on the track Fast Friends. Connolly began his acceptance speech, hilariously appropriately, by checking which of the two mics on the podium was the better, while Julia Stone admitted that it felt “slightly strange to receive an award for producing [their] record, just because it feels like it was such a collaborative effort.” Down The Way was recorded over three years in a variety of places, as the Stones explained after the event. “When it’s my song,” Angus Stone explains, “I’m sort of the dude in the studio that’s there the whole time, and Julia can float about and get tea and I’ll ask her for advice for things.” “We each take control,” Julia expands, “as main producer, for the songs that are mine and the songs that are his. On the first album [A Book Like This] it was so much different; it was just that we had someone in the room that actually was a producer, but we still had kind of the same level of involvement, still made really creative choices about the direction of the record. This time round it was just that we didn’t have that official title of a producer there with us.” The recording was done in a variety of space, from a converted sawmill in Cornwall to a friend’s basement in Queens in New York. “They were all very different,” Julia explains, “and I think different because of the times of the year that we were in there as well. For instance, in Sawmills [where they were recorded by Tom Joyce], it was very cold when we were there, and I remember being in the cave down in the basement and the guitars, the tuning, we were constantly

retuning because of the cold, and how you feel being in the cold and how that adds to the feeling of making the record, and then the beauty of it, being in nature – all those things must contribute, I don’t know how exactly it does, but I can hear the songs that we made at Sawmills.

Angus & Julia Stone

“Then the songs we did in Brooklyn, it was the middle of summer, no air-conditioning, all the instruments were out of tune for the opposite reason, and all of us in there just sweating and a little bit toxic, such a different feel, so that must have brought another element to those songs.” In New York, they used Martha Wainwright’s husband Brad Albetta’s Monkey Boy Studios in Williamsburg with Albetta recording, The Buddy Project in Queens with Keiran Kelly recording, and a friend’s home studio in Battery Park. “There were a lot of overdubs and underdubs going on in New York,” Julia remembers. “We finished up mixing in The Buddy Project [with Kelly] over two weeks, and then we went up to the Catskills to master the record with this wonderful guy Allan Douches, a really great mastering engineer – he mastered lots of Sufjan Stevens’ records. Then we did all the strings in London in a beautiful studio in Brick Lane.” Dempsey’s album on the other hand was all recorded in the one place, and it wasn’t even a studio really, as Connolly explains: “Paul had done a few records overseas with his other band, so this record, he wanted to do everything completely the opposite way. So he wanted to make it in Australia and play everything himself but he didn’t want to be in a studio, so we ended up making it in a pretty small room, almost bedroom-sized room, up on the Central Coast in a house that belonged to Chris Joannou from Silverchair. Amongst other things there was an enormous amount of bass guitars there! “That room was so small it literally was only just big enough for the drumkit, so all the room mics were on diagonal – none of them were pointing at walls, they were all just pointing diagonally across – and they were on the figure-8 so the dead spot would be pointing straight towards the drumkit, which were only three feet away, and the two sides would be pointing diagonally, so any reflection that was getting to these room mics would have to travel a little bit of a way to get round to them. By doing that I think we

actually were able to create something that sounded a bit unique and ‘roomy’ in a really very small room. “I tend use favourites in mics – I’ve got some Neumann U67s, which are the mics The Beatles in their later years tended to use on everything really, and I tend to use those on overheads, and then on kicks are D1-12s and 57s, and snares 57s top and bottom. The room mics were probably 414s. And it did sound pretty warm, surprisingly, I think because whenever someone builds a really small room, they have to make to make it really dull because it sounds terrible – it sounds like a bad bathroom if it’s reflective selective. So we also brought in any old doors and bits of wood from outside and angle those against the walls to try and create more angles, and also I guess one of my favourite things is to have a mic on the floor which, with drums seems to work in any scenario, and tends to give you all the warmth and ‘underbelly’ to a drum sound that you need.”

STUDIO PROFILE SOUND BYTES

ANGEL STUDIOS DR. PAUL DAY, PRODUCER/DIRECTOR

The album, Cremation Day In The Court Of Miracles, which French rockers Dimi Dero Inc are showcasing when they hit our shores later in October might have been recorded in France, at Microbe Studio, but the mix was engineered in Sydney’s Damien Gerard Studios by Russell Pilling and produced by Rob Younger of Radio Birdman/The New Christs. The new Chairman of Warner Bros Records in the US is producer Rob Cavallo, whose credits include the Dave Matthews Band, Jawbreaker, The Goo Dolls and among many others, as well as both The Black Parade and new Danger Days: The True Lives Of The Fabulous Killjoys albums by My Chemical Romance. Producer Daniel Lanois was a guitarist to start with and as such he fronts his own band, Black Dub, which features guitar virtuoso Brian Blade and the late Chris Whitley’s daughter Trixie on drums. Their eponymous debut album was recorded in Los Angeles and will be released Friday Nov 12. Melbourne instrumental band Bombazine Black utilised two studios, Sunset Studios in Los Angeles and Head Gap Studios in Melbourne, in recording their second album, Motion Picture. Melbourne’s Amaya Laucirica recorded her latest album, Early Summer, in her hometown with Dave McCluney at Atlantis Studios, then sent it to New York to be mixed by ex-pat Australian Victor Van Vugt (The Moodists, Nick Cave, PJ Harvey) at Grace Studios, the results then going to Ray Staff at Air Studios in London to be mastered. Singer songwriter Simon Astley recorded and mixed his latest single, I Think I’m In Love, at Nomis Studios in hometown Melbourne but sent it off to Universal Mastering in New York to be mastered.

WHAT’S THE STUDIO SET UP YOU HAVE THERE EQUIPMENT-WISE? We currently have a Rupert Neve designed 64 channel desk, one of only three of its type in Australia, and a Soundcraft 24 channel desk in the smaller studio. We currently use KEF reference monitors, Tannoy 15” monitors and with three different sets of Yamaha monitors in our video editing department. A wide range of outboard gear is available, Avalon, Amek DBX, Urei, Yamaha, TC Electronics, Lexicon, Amcron, Little Labs, Leak, Lynx Aurora 24 bit 192 KHz AD/DA converters . A large range of microphones, such as Neumann, Coles, AKG, Sennheiser, Shure, Beyer and Rode. There are two drumkits, including a Masters series Pearl mahoganny kit, Vox AC30 Limited edition guitar amp. Fender amplifiers, Hartke, Marshall and others. We also use the latest professional Sony HD cameras in our video productions.

ANY TIPS FOR ARTISTS ENTERING A STUDIO FOR THE FIRST TIME? Best tip would be to come well prepared, know your material well, and arrange for a consultation with the studio before hand, to work out realistic time expectations, to do a good job. Remember that it also takes time to get a good mix. We can do the whole package for you and can discuss budgets and do a general reality check on your project. Checking our Angel Studios website is a good place to start.

WHICH NOTABLE ARTISTS HAVE WORKED AT THE STUDIO? Many fine artists have recorded at Angel studios, currently we are doing a rock album for Native Son, two gospel albums, and two pop album for other artists. We also do music video clips and feature films. We released a sci-fi space feature film called Redemption 101 in 2007 and are releasing a sequel Beyond Redemption later this year. Angel Studios also does a large amount of corporate work for business and government departments. We currently have one signed artist who will be releasing her debut album after Christmas.

WHO DO YOU HAVE ON STAFF AND WHAT’S THEIR BACKGROUND IN THE INDUSTRY? Paul Day is the main engineer and has had a very long career in professional music and recording and live mixing. We also have several other engineers that specialise in various styles of music and film ... We are a complete production house and regularly do work for the universities, government departments, and overseas artists and companies.

ANALOGUE VS DIGITAL – DISCUSS. This is an old argument that changes with new developments in equipment. I currently believe that high quality analogue gear always sounds better than similar digital equipment. Digital equipment is faster and cheaper and offers some things not found in analogue. We use a combination of both to give the highest quality of sound.

CAN BANDS BRING IN THEIR OWN ENGINEER OR DO THEY HAVE TO SOLELY USE A HOUSE ENGINEER? A band can bring their own producer/engineer to advise and help where required, but due to the complexity of the equipment one of our own engineers familiar with the gear, is required to control the desk.

IS THE STUDIO CAPABLE OF HOLDING A FULL BAND AT ONCE FOR RECORDING? We have one of the largest tuned recording rooms in Queensland and have recorded up to 50 people at a time. We can comfortably seat 100 people. The room offers excellent acoustics for drum tracks and delivers a big sound that is unobtainable in smaller studios, due to their low ceilings.

WE’RE AN IMPOVERISHED INDIE BAND – DO YOU OFFER ANY DEALS FOR ACTS IN OUR SITUATION? We offer reduced rates for all band/singer recording sessions to our normal commercial rate. Four hour and eight hour concession packages are standard, and we do sometimes offer special rates to promising school age bands just starting out.

DO YOU HAVE ANY IN-HOUSE INSTRUMENTS AT THE STUDIO ACTS CAN USE, OR IS IT TOTALLY BYO? Generally bands use their own gear, but some prefer to use our drum kit or keyboards (Roland RD700SX and Yamaha Mo8). We have a range of guitars and basses and amps that can also be hired if organised in advance.

WORKING IN THE STUDIO CAN BE ARDUOUS AND WE’LL NEED A BREAK – WHAT ARE THE AMENITIES IN THE LOCAL AREA? There is a good snack bar located near the entrance and the usual snack bars and takeaways close by. The studio has a fridge, microwave and coffee and tea making facilities in the green room, where performers can relax between takes. There is also a quiet park next door.

WHAT ARE YOUR CONTACT DETAILS? Angel Studios is available seven days a week for recording. To make an appointment to discuss your requirements, call 0411037815 during normal business hours. paul@ angelstudios.com.au http://www.angelstudios.com.au

Burwood(02)97442400 www.loganspianos.com.au AUTHORISED IBANEZ DEALER

EMPLOYMENT

CONDITION! $2500.00 Ph Jimbo on 0428744963.

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FOR SALE AMPS

DRUMS $250 for a 20” cast, hand-hammered ride cymbal? If you are not Dreaming already, go to www.cymbalsplus. com. Dream Cymbals and Gongs, Metro Drums plus more. iFlogID: 6983

SABIAN CYMBALS Sabian 20” AA Rock ride, Sabian 17” med thin crash, Sabian 14” AA Regular hihats all with Ragone case. As new, $700, ph 0419760940

ADMIRA FLAMENCO GUITAR. Handmade in Spain. Solid top delivers rich vibrant tone. Premium guitar at rock bottom price Logans Price $572 Logans Music Burwood (02)9744 2400 www.loganspianos.com.au AUTHORISED ADMIRA DEALER iFlogID: 7987

Are you looking for a mint condition Gibson USA Flying V? I have just the guitar you are after. No chips, cracks, never gigged. Ebony finish 2007 model, comes with straplocks in Gibson case. $1000 o.n.o iFlogID: 8410

CORT 12 STRING ACOUSTIC ELECTRIC GUITAR Cort Earth 70 12 string. Includes solid top and pickup! Awesome deal! Logans Price $398 Logans Music Burwood (02)9744 2400 www. loganspianos.com.au AUTHORISED CORT GUITAR DEALER iFlogID: 7991

EPIPHONE AJ200CE ACOUSTIC GUITAR Jumbo body acoustic with cutaway and pickup. VINTAGE SUNBURST Huge sound and great neck. RRP $899 Logans Price $629 Logans Music Burwood (02)9744 2400 www. loganspianos.com.au AUTHORISED EPIPHONE DEALER

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Ibanez guitar cab for sale. Has Ibanez power jam speakers. Similar sound to Marshall cabs. Great cab for the money. Small scuffs on outside of cab. $400 iFlogID: 8400

MG100HDFX + 120w angled cab $600!

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PEAVEY WINDSOR GUITAR AMP 100 Watt all valve/tube head. HUGE hardcore tone. Incredible bottom end. Has been professionally modified 2 channel foot switchable. Runs EL34 power valve. Mint condition $750.00 ono. 0428744963. Cooroy iFlogID: 6510

This cab has brand new speaker. Only used in jam room. Cab is in near perfect condition. It is rated at 400 watts. Great for mid sized amps. Selling it because new amp is too powerful. iFlogID: 8397

EPIPHONE LP JUNIOR ELECTRIC GUITAR Limited edition satin black finish, single humbucker. Great starter guitar. RRP $329 LOGANS PRICE $245 (Very limited stock) Logans Music BURWOOD (02) 9744 2400 www.loganspianos.com.au AUTHORISED EPIPHONE DEALER iFlogID: 8042

EPIPHONE SLASH APPETITE FOR DESTRUCTION LES PAUL Arriving in October, this limited edition guitar is going to sell out very fast! Comes complete with Slash hard case and certificate personally autographed by Slash himself! Preorder at Logans Music (0297442400 www.loganspianos.com.au ESTEVE GAMBERRO CLASSICAL/ ELECTRIC GUITAR. Handmade in Spain. Solid Cedar top, cutaway and fishman pickup. Premium classical guitar. Logans Price $998 Logans Music Burwood (02)9744 2400 www. loganspianos.com.au AUTHORISED ESTEVE DEALER FENDER DG8S ACOUSTIC GUITAR PACKAGE This awesome pack includes SOLID TOP guitar, gig bag, strap, tuner, DVD lessons, picks + more RRP $499 Logans Price $299 (40% OFF!!) Logans Music BURWOOD (02)9744 2400 www. loganspianos.com.au AUTHORISED FENDER DEALER iFlogID: 8003

FENDER JOHN 5 ACOUSTIC GUITAR The master of shred, John 5 unleashes his more subtle side with this awesome guitar. Small body, florentine cutaway with pickup. RRP$999 Logans Price $650 Logans Music Burwood (02)9744 2400 www. loganspianos.com.au AUTHORISED FENDER DEALER iFlogID: 7993

FENDER PINK PAISLEY STRAT.

BASS

FENDER USA DELUXE STRATOCASTER Sunburst finish with S-1 switching, locking tuners and noiseless pickups. Comes in hard case. RRP $2999 LOGANS PRICE $1649 (45% OFF!!) 1 only Logans Music BURWOOD (02) 9744 2400 www.loganspianos.com. au AUTHORISED FENDER DEALER iFlogID: 8050

FENDER USA RG STRATOCASTER Sunburst finish Synth pickup, includes 37 different tonal variations. Comes in hard case Unbeatable! RRP $4199 LOGANS PRICE $2309 (45% off) 1 only Logans Music BURWOOD (02) 9744 2400 www.loganspianos.com. au AUTHORISED FENDER DEALER iFlogID: 8054

FENDER USA STANDARD TELECASTER Brand new Fender USA Standard Tele. Includes SKB hard case, strap, lead Heaps of colours to choose from. RRP $2299 LOGANS PRICE $1539 CRAZY! Logans Music Burwood (02) 9744 2400 www.loganspianos.com.au AUTHORISED FENDER DEALER iFlogID: 8036

Genuine 1980’s Pete Townshend jap model. all original. in case. amazing action. beatiful tone and sustain. plays great. nice patina. very rare. suit collector. EXCELLENT

IBANEZ PRESTIGE MBM1BK

IBANEZ PRESTIGE MBM1BK. Matt Bachand’s (Shadows Fall) Signature guitar features an EMG 81 humbucker in the bridge position for razor sharp attack and incredible sustain, and an EMG 60 humbucker in the neck position for massive crunch. Gloss black finish with Matt Bachand’s signature skull graphic. Pearloid body binding. Includes ibanez hard case. Made in Japan RRP $5295 Logans Price $2645! 50 % off BRAND NEW 1 ONLY LOGANS MUSIC BURWOOD (02)9744 2400 www.loganspianos.com.au AUTHORISED IBANEZ DEALER

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GUITAR AMPLITUBE IRIG

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Petticoats & Gallantry has launched a new range of exclusive, boutique handmade & decorated false eyelashes perfect for going out. With a mix of over-the-top dramatic lashes suitable for Performances, Burlesque, Drag and even just for a special night out, you’re sure to find some one-ofa-kind false eyelashes to wear. Each pair is customised and decorated by hand in a variety of themes, and commission orders are very welcome. www.petticoatsandgallantry.com.au Look for us on facebook for exclusive promotions. CELTIC PEWTER NECKLACE $7.95 www.theinnerlight.com.au Made from Nickel Free Pewter and strung on an adjustable waxed cotton cord. Celtic jewellery is said to offer the wearer protection from negative forces. Visit www.theinnerlight.com. au for a great range of designs. iFlogID: 7319

DRAGON PEWTER PENDANTS $7.95 www.theinnerlight.com.au Made from Nickel Free Pewter and strung on an adjustable waxed cotton cord. Wear a Dragon Pendant as a powerful protection symbol! visit www.theinnerlight.com.au and type DRAGON into the search bar.

MARTINEZ JAZZ HYBRID ACOUSTIC GUITAR Acoustic body with cutaway. Awesome F hole look with pickup! Logans Price $219 Logans Music Burwood (02)9744 2400 www. loganspianos.com.au AUTHORISED MARTINEZ DEALER

Fender Stratocaster USA 1999, Exc Cond, OHSC. Sunburst, Rosewood Fretboard, Recent Refret with Dunlop 6100 frets, vintage and original Fender tuners, Graphtek and original saddles inc. $1250, ph: 0407 176 409 or email: coolhand78@hotmail.com iFlogID: 8199

NOT AVAILABLE FOR FREE ADS. CL Martin & Co 000-1 Acoustic Guitar (1998).Has Martin Thinline 332 Pickup installed. OHSC with broken handle. Original papers. Solid mahogany back, solid sitka spruce top, rosewood fretboard. Original owner. Beautiful guitar, very toneful.$1500 Ph 0407 176 409 email: coolhand78@hotmail.com

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Rode NTK Valve Condenser Recording Microphone INC hardcase, pop filter and suspending mic clutch.as new $700.00 phone Simon 07 33495002

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KEYBOARDS Keyboard X-stand. Black, no scratches, adjustable height, rubber cushions for keyboard, rubber leg ends. Very god condition, as new, Bargain $49 Call 07-32059105 Bray Park

OTHER Free band websites! Up to 8 pages, streaming audio, gallery etc. Contact jnst17@tpg.com.au for details. We don’t compromise on quality! iFlogID: 8336

MARKETING AND PROMOTION

Special Packages available for artists and bands!! Whether being recording/ mixing. With networks to many studios around town your project will sound great and professional whilst working within a budget!! OUR PASSION IS TO CREATE RECORDS THAT GIVE THE LISTENER A HARD HITTING, FRESH SOUND THAT PUSHES BOUNDARIES, WHICH STANDS UP AMONGST THE INTERNATIONAL MARKET. WE SPECIALIZE IN HIP HOP/R&B BUT LOVE AND DO ALL GENRES. For a full list of our credits see myspace.com/mixinthelab. Contact us on 0424 462 945 or Email at thelab1@hotmail.com iFlogID: 6287

HIRE SERVICES KARAOKE & JUKEBOX HIRE Superstar Karaoke & Jukebox Hire is friendly, efficient and affordable. We’ve also got the BIGGEST selection of songs with over 10,000 karaoke tracks and over 5,000 jukebox songs. Plus, we update our song lists monthly so we have the classics and all the newest hits! Visit www.superstarkaraoke.net.au today and see how we can assist you with making your next party or function one to remember. iFlogID: 6041

MUSIC PUBLICITY AND MARKETING

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POSTERS In a band? Putting on a show? Have an upcoming exhibition? Releasing a film? Than we might be able to help you out..... Clk Click’s Spring Offer! Well it’s spring time, and that means it’s time to dust off some of those cobwebs and get your business in order. We here at Clk Click Publicity have a Spring Offer for all you musos, artists and film makers that will give your project a little boost, and leave you some spare change for the upcoming festival season! For a very limited time Clk Click Publicity will create a professional Bio and Press Release for your band, exhibition or film for only $200! If you would like us to put together a full press kit we will do this for just $800. We can also organise band photos and logo creation for a very reasonable price. Furthermore, if you’re interested in finding out about our full range of publicity services, we’d love the opportunity to have a chat with you and put together a proposal for your next release, event or tour. We look forward to working with you! The Clk Click Publicity Team: W: www.clkclickpublicity.com | E: info@ clkclickpublicity.com iFlogID: 5312

Need gig posters or band logos? contact Spicy Designs at andrew.spice@ hotmail.com. Best rates in town! $40 for A4 color posters, $30 for band logos. Designed posters for numerous gigs and numerous logos. iFlogID: 8091

RECORDING STUDIOS Get your demo or EP mixed & mastered at a more than affordable rate FOR A LIMITED TIME ONLY!!! Check out www.nathaneshman.com for audio examples & contact info@nathaneshman.com or call 0403 498 103 iFlogID: 8404

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THE LAB STUDIOS

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MUSIC SERVICES

Promoting a CD? Want to let fans know about your gigs? Take your band to the next level with our competitive rates for your marketing and publicity needs. We strive to bring our artists to as wide an audience as possible conducting a broad media campaign which encompasses national print media and online promotion and an artist administration area allowing access to realtime 24/7 campaign results. We can also look after your paid advertising, sourcing some of the most competitive pricing. Contact 0402257148 or www.aaaentertainment.com.au iFlogID: 5801

MUSICIANS FOR FUNCTIONS/ VENUES

BAND MERCHANDISE NOT AVAILABLE FOR FREE ADS. CL #FUNKTION-ONE P.A HIRE# Up to 14 Kw pure sound for all of your events.- Delivered, setup and operated if needed.-Like more info or a free quote? You can call me on 0403 813 654 iFlogID: 8271

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Are you thinking of hiring quality musicians that bring an audience ? Do you have a function/event and considering live entertainment ? For a limited period, we are offering a Venue Promotions Package featuring favourite entertainers. If it is about raising your venue profile or just great entertainment you want, contact us now. Chris 0419 272 196 http://infovisionproductions.yayabings.com.au

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sonically sounds PHAT and pushes the boundaries of what music currently sounds like in Australia, which stands up amongst the international market. WE SPECIALIZE IN HIP HOP/R&B BUT LOVE ALL GENRES. We’re located at Level 7 studios and the studio is decorated in some of the most appreciated vintage and modern gear which provides our clients an incomparable advantage in the sense of both the analogue and digital domains. Artists we’ve worked with include: Pharrell Williams, N.E.R.D., Kanye West, INXS, Black Wallstreet and a myriad of local artists such as Hyjak, Potbelleez, Vice Verser, Thundamentals, Fame, Tycotic, Rai Thistlewaite (Thirsty Merc), Wendy Mathews, Gin Wigmore, Tim Freedman (The Whitlams), Carl Riseley, Hoodoo Gurus, Wes Carr, You Am I, and many more. Contact us on 0424 462 945 and check out myspace.com/mixinthelab

ROLAND Digital Recording Studio Workstation VS-840ex grate for small portable home studio, onboard FX,as new in box $550.00 Phone Simon 07 33495002

KORG TRITON EXTREME88 SYNTHESIZER in near-new condition. Rarely-used workstation keyboard with bonus stand and damper pedal. $4,450 including delivery to any mainland state. THE001Music@hotmail.com Roland PC-200 MKII Midi Keyboard Controller. Four-octave keyboard with velocity sensing, volume/data slider, sustain pedal jack, pitch/bend modulation lever. Runs on batteries or DC power. Very good condition. Bargain $99 Call 07-32059105 Bray Park

SPECIAL OFFER!!!!

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Three tone sunburst Fender Jaguar. Made in Japan. Approx 10 years old. Excellent condition, a few chips in the finish. Mustang bridge. No case or trem arm. Great looking and playing guitar. $1100

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Hagstrom HJ800 Hollowbody Jazz guitar. This is a beautiful guitar, Hagstroms flagship model professionally setup with flatwounds. Included is Hagstrom case imported to match. $900 o.n.o

Melbourne’s hottest new rock band Envy has released their EP Images For The Lonely to Itunes. Check out this exciting live act at The Espy, Gershwin Room on Sunday October 3rd at 6pm. Tickets $12 at the door.

PEWTER SWORD PENDANT $7.95 www.theinnerlight.com.au This finely crafted sword pendant is made from Nickel Free Pewter and strung on an adjustable waxed cotton cord. Wearing a sword pendant is seen as a symbol of power, justice and protection against evil.

TAKAMINE EF406SN ACOUSTIC GUITAR Parlour sized body, perfect for fingerpicking. Takamine pickup with CT4B preamp. MADE IN JAPAN RRP $1899 LOGANS PRICE $949 (50% OFF!!!) Logans Music BURWOOD (02) 9744 2400 www.loganspianos.com. au AUTHORISED TAKAMINE DEALER

AmpliTube iRig. Plug your guitar into your iPhone/iPod touch/iPad and jam anywhere with world class guitar and bass tone right in the palm of your hand - from the leader in studio-class guitar and bass software. Simply plug the iRig interface into your mobile device, plug your instrument into the appropriate input jack, plug in your headphones, amp or powered speakers, download AmpliTube for iPhone Free and start rocking! You’ll have at your fingertips the sound and control of 3 recombinable simultaneous stompbox effects + amplifier + cabinet + microphone just like a traditional guitar or bass stage rig! Add amps and effects as you need them — you can expand your rig with up to 11 stomps, 5 amps, 5 cabinets and 2 microphones in the AmpliTube iRig app custom shop. ONLY $59.99 UNBEATABLE Logans Music (02)9744 2400 www.loganspianos.com.au

Advertise you or your band on Facebook. Facebook Advertising Guide shows you how you can advertise on Facebook without braking your budget. Step-by-Step instructions with lots of illustrations. Paperback or e-book available. 122 pages. Only $27.95. Order online www.facebookadvertising-guide.com

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NOT AVAILABLE FOR FREE ADS. CL

GODIN MIDI GUITAR ACS SA Nylon string semi-solid body with piezo and 13-pin MIDI output plus the Terratec Axon AX100 Synth controller & AX101 MIDI guitar pickup. Used once. Black colour. $2,400 including delivery to any state of Australia. THE001Music@hotmail.com

EP RELEASE

LAG ACOUSTIC GUITARS Purchase any LAG acoustic guitar and recieve a FREE HARD CASE valued at $129. Hurry, limited stock! Prices start from $399. Logans Music BURWOOD (02)9744 2400 www.loganspianos. com.au AUTHORISED LAG GUITAR DEALER

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Brand New Gibson SG Standard Lefthanded guitar. Heritage chrery finish including Gibson hard case. Logans Price $1999 WOW! (righthanded also available!) Logans Music Burwood (02)97442400 www. loganspianos.com.au AUTHORISED GIBSON DEALER

OTHER

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GIBSON SG STANDARD LEFTY

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CORT ACOUSTIC BASS GUITAR This awesome bass has a SOLID TOP with cutaway body. Pickup built in! RRP $659 Logans Price $527 Logans Music BURWOOD (02)9744 2400 www.loganspianos.com.au AUTHORISED CORT GUITAR DEALER IBANEZ SRX390 BASS GUITAR Great 4 string bass with 2x active humbuckers RRP $899 LOGANS PRICE $450 (50% off crazy!)Logans Music

Brand New Fender standard Stratocaster.(Mexico) Updated model including new tinted neck. Different colour options available. Package includes Guitar, gig bag and stand. RRP $1100 Logans Price $756 Heaps of other Fender bargains instore. Logans Music (02) 9744 2400 www. loganspianos.com.au AUTHORISED FENDER DEALER

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HUGE LANEY GUITAR AND BASS AMP SALE. 30% TO 50% OFF ALL AMPS. BE QUICK, LIMITED STOCK AVAILABLE. CALLS US 07 54743033 ALL BRAND NEW WITH WARRANTY

IBANEZ LIMITED EDITION RG ELECTRIC GUITAR. RG body and Neck with gold hardware. Floyd Rose locking system with custom metallic black finish 1 only RRP $995 Logans Price $696 Logans Music Burwood (02) 9744 2400 www.loganspianos.com. au AUTHORISED IBANEZ DEALER

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GUITARS

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SECOND NATION - delinquent E.P. AVAILABLE NOW for $4.99 at www. myspace.com/secondnation

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JOBS, JOBS, JOBS! Ever found yourself putting on a tour and don’t know how to get a sound engineer or someone to sell merchandise on the other side of the country? Well, that is how CoverYourArtz.com came about... The website enables anyone offering a service that can be used by touring artists to browse for work, and for touring artists to find the people they need to make their tour work anywhere in Australia. By visiting CoverYourArtz.com, anyone who is putting on an event is able to source all types of crew from tour managers, sound engineers, and lighting technicians to merchandisers, photographers and poster distributors in areas where they wouldn’t normally know where to start looking. Anyone working in the industry can look for work, and also list their details so that they don’t miss out on that next ‘big job’! Registering and browsing for jobs on CoverYourArtz.com is absolutely free, you only pay when you want to apply. For further info please contact the team at info@coveryourartz.com or visit our website at www.coveryourartz.com.

FENDER STANDARD STRATOCASTER

IBANEZ ADX120 ELECTRIC GUITAR Awesome guitar, fast low action. be quick these won’t last (2 only) RRP$695 Logans Price $347 (50% OFF!!!) Logans Music Burwood(02)97442400 www.loganspianos.com.au AUTHORISED IBANEZ DEALER

Going to Court? Experienced Lawyer for work licences, unlicenced driving, drink driving, guilty pleas. Over ten years experience, assault and public nuisance offences. Fixed fee and payment options. Please contact my office on 07 3210 1663, or visit wwww.thecriminallawyer.com.au

PA / AUDIO / ENGINEERING PROFESSIONAL SOUND AND LIGHT DO YOU AND YOUR BAND WANT TO STAND OUT? WE HAVE THE BEST STUFF FOR YOUR GIG’S, WE ARE THE PROFESSIONALS IN SOUND AND LIGHT, WE HAVE THE TOP OF THE LINE GEAR AND WE ARE READY TO GIVE YOU AND YOUR BAND THE SHOW YOU NEVER FORGET Call Roger on 0447025967 iFlogID: 5704

THE CHEMISTRY OF SOUND

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Yaman Music Production for Artists & Businesses offers music production services to artists mainly EP’s, albums, demos and full backing tracks all airplay quality by European music producer and music composer Tom Chwieduk. EMail: info@yaman. com.au | www.yaman.com.au iFlogID: 7965

REHEARSAL ROOMS OUT LOUD MUSIC STUDIOS OUT LOUD MUSIC STUDIOS Brisbane’s favourite rehearsal rooms Open 7 days a week Discount rates for Mon - Fri 10am - 5pm Call 38460111 (all messages responded to) or 0414-369286. iFlogID: 8389

URBAN HUMM STUDIO, WEST END.

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MANAGEMENT MINSTREL MANAGEMENT www. minstrelmanagement.com Planning to release a Record? E.P? Just need

We are experienced risk takers that not only know the rules, but also know when and how to break them! We have been engineering and mixing for over 15 years and have worked in Sydney’s top studios. We also have our own Mixing/Production studio called The LAB, located at the famous Level 7 studios which is decorated in some of the most appreciated vintage and modern gear in combination of a myriad of assorted software and plug-ins that provides our clients an incomparable advantage in the sense of both the analogue and digital domains. THIS IN COMBINATION WITH MANY STUDIO CONTACTS AROUND TOWN, YOUR PROJECT WILL SOUND GREAT AND PROFESSIONAL WHILST WORKING WITHIN A BUDGET!! For a full list of our credits see myspace. com/mixinthelab. Contact us on 0424 462 945 or Email at thelab1@ hotmail.com

As Engineers/Producers our passion is to create tracks that give the listener a hard hitting, fresh sound that

Rehearsal Rooms, Recording Studio & P.A. Hire.Off street undercover parking, flat loading, aircond., P.A. provided. Open 6.00pm to 11.00pm. Weekend and day slots available.Phone Andy. Permanent monthly room hire available. Contact Andy Waterer. Phone : 0411632023. Email: alanwaterer@yahoo.com.au

For a limited time. Free online and print classifieds Book now, visit iflog.com.au 56

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Violin Teacher from Italy 30$/ half hour. Ryde area. High quality, friendly teacher. AMEB exams or just for fun, start playing your violin! 0415783160

REPAIRS ROCKIN’ REPAIRS - GUITAR TECH

OTHER PRO TROMBONIST AVAILABLE

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VIDEO / PRODUCTION LIVE GIG FILM CLIPS Need a live clip to promote your band?? SnakeEyeProductions offers multi camera filming of your next gig in Hi Definition, includes Editing and Uploads at great rates.. ph-0416120639

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TUITION

HAVE YOU SEEN MIKE HUNT

Professional Trombone player available for gigs, session and tours. Jazz, Funk, Latin, Pop, Rock and Classical. Can sight read, improvise and write parts. Contact Brendan 0409833827. iFlogID: 4099

Australian Bands Only.Do you have A You Tube Rock Band Video you want to promote,if so Mike Hunt wants to promote it.Just send your link to admin attention Mike Hunt and we will do our best to list you for free worldwide at www.clearhunt.com

Established singer/songwriter with 2 previous albums taken into Music Australia through National Library/ National Film & Sound Archive seeks guitarist partner M/F with own recording capability to share in new project. Prestigeous National Retailer will distribute. Call Francis on 0458 993 268 iFlogID: 7826

SAXOPHONIST AVAILABLE

**** LEARN TO DJ **** Estb. 1993 The United DJ Mixing School has courses with proven results and working graduates. Summer courses enrolling now!! Ph: (03) 96399990 or check www.djsunited.com.au iFlogID: 8507

ABSOLUTE BEGINNERS4GUITAR&KEYS

BASS PLAYER

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A four week course that gets you playing fast. Individual tuition. Chords, Rhythm, Songs, Theory. 25 years specializing in teaching beginners! Gift vouchers available. Call David on 96603877 Annandale/ Inner West area. iFlogID: 6426

Apple Certified Trainer LOGIC PRO 9. Do you want to learn Logic Pro 9? Are you a singer/songwriter,band,DJ,Film or Tv Composer,who wants the best logic education available.Very reasonable rates.Guaranteed.Call Vic on 8212 4522 iFlogID: 8302

BASS FOR BEGINNERS Equipped with 13 years of bass guitar and musical experience, Rachael offers an introductory level of tuition for beginning musicians focussing on areas of technique, music theory, rhythm and performance. Open to all ages. Bass ownership not essential, studio location Eastern Suburbs. Contact 0415273252 or rachael.rees@ hotmail.com. iFlogID: 6161

DRUM LESSONS Location Gladesville Billy Hyde Drumming Academy,15 years experience, all ages, levels and experience. Home Studio Michael Mob:0402 663 469 iFlogID: 8477

Italian Violin teacher - degree qualified in Italy. AMEB exams experience. 30$/half hour. Ryde Area. 0415783160 iFlogID: 8160

***BOOK A DJ FOR YOUR NEXT PARTY*** DJs United have the largest database of DJs in all genres of music to make sure we find the perfect one for your event. Ph: (03)96399990 or Book online www.djsunited.com.au/ bookings

iFlogID: 8154

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SYDNEY GUITAR TUITION Specialises in all aspects of contemporary guitar. The teachers are seasoned pros boasting a vast experience of the industry .The practical meets the theoretical as the teachers also hold Music Degrees.All ages and levels. sydneyguitartuition.com 0402710990 iFlogID: 7913

SEEKING A DRUMMER TO PLAY IN COVERS BAND ON THE SUNSHINE COAST COMPLETE JAM ROOM ON SITE (FREE) BASIC DRUM KIT PROVIDED PREFER IF YOU HAVE YOUR OWN! HIGH ENERGY RADIO FRIENDLY (FAMILIAR) MUSIC CALL DAVE 0432448878 COOLUM

iFlogID: 8550

iFlogID: 8321

Looking for dedicated, talented young Bassist. We have rehearsal space to tighten up & gig by December. MUST HAVE INITIATIVE, BE COMMITED & willing to travel. Sounds like ATDI, Kings of Leon, Sonic Youth, Drones, Sigur Ros etc. Contact Joel.

SINGER JASON AYRES

Rock Monster (originals) need a bass player - with vocals would be good. Melbourne, out east. Check us out at http://www.myspace.com/rockmonstermelbourne. Or on our Melband ad http://www.ausband.com.au/modules.php?name=Forums&file=viewto pic&p=2180151#2180151 iFlogID: 7941

SEEKING DRUMMER TO PLAY IN HIGH ENERGY COVER BAND ON THE SUNSHINE COAST . FREE ON SITE JAM ROOM (COOLUM) COMPLETE JAM ROOM , PREFER IF YOU HAVE YOU OWN GEAR BUT BASIC SETUP PROVIDED . DO GIGS ASAP DAVE 0432448878

iFlogID: 8125

Acoustic Pop-Rock Specialist -www. jasonayres.com-

iFlogID: 5777

The Escalators. Jazz-Soul-ReggaeFunk-Disco. 60 gigs a year. 70% weddings. Mostly South Coast between Wollongong & Ulladulla. Some work Sthn Highlands, ACT. Weddings: $300-500 per gig. We have pro attitude & commitment, but place high value on having fun. www.theescalators.com.au for repertoire etc iFlogID: 8422

Singer Song writer seeks Alternative/ Indie band to create/perform. I look/ sound great. Play acoustic Guitar and tamb/shakers. Have own material and open to more! no covers or RSLs. email to see if we connect! N-J :) iFlogID: 8445

iFlogID: 8243

DRUMMER

Vocalist- Looking for Dance, R&B, Hip-Hop or Rock Groups and Artists: Call 0415252323

DRUMMER WANTED for original Sydney 4 piece Indie/Pop/Electro/ Rock band BABA O’RILEY. Needs to be committed, available for weekly practices, gigs locally & nationally. Must have own gear/transport. Check out latest EP at www.myspace.com/ BabaORileyBand. Contact Chris 0405 423 280 or BabaORileyBand@ hotmail.com

iFlogID: 8245

Proficient Drummer: Experienced in Hard Rock, Prog, Metal, Rockn’Roll, Funk and Jazz Matt Meli 0425820547 12yrs playing, Have gigged in Sydney + Melbourne And Exp with Recording Equiped and Transportable Call Anytime iFlogID: 8152

Proficient Session Drummer: Experienced in Hard Rock, Prog, Rockn’Roll, Punk + Funk 12yrs Playing, Gigged in Sydney + Melbourne, And Recording Exp Equiped and Transportable Call Matt 0425820547 iFlogID: 8247

TOP PRO DRUMMER AVAILABLE

1. Master Audio and MIDI. 2. Ten Years Experience in the Industry Tutor. 3. Weekdays or Weekends, Flexible. 4. Learn with Up to Date Technology. 5. Intensive Theory and Practical Sessions. 6. Individual Student Hands-On Practice. 7. Only $30 per hour. contact me on vangelis2133@yahoo. com or on 0449672435 between 8 a:m and 2 p:m or after 6 p:m. SINGING LESSONS Certified Speech Level Singing (SLS) Instructor. Technique of over 120 Grammy award winners. Extend your Range. No more Breaks/Flips. Develop Strength. All Styles. Eastern Suburbs. www. myspace.com / mazvocalstudio Contact Maz - 0412 340 659 - maz@ mazmazak.com

Looking for an opportunity to use your talents to bless others? We are a local church looking bass players wanting to be part of an exciting new worship team. Call us if that’s you! Ph: 9544 1144.

LOGIC PERFORMER Live Productions ranging from House, Electronica to DubStep Unique and Original musical projects, Customized for Particular Events Deposit req + Perf. Cost, Call for Quote Mr.Rush 0425 820 547 abn holder

MUSIC PRODUCTION TUITION

iFlogID: 5879

Experienced saxophonist based in Sydney is looking for bands and studio sessions. Jazz, funky, afro, reggae,latin, rock, folk. If interested contact me at 0410041979. Cheers. Lorenzo

iFlogID: 8528

LOGIC PERFORMER / DJ Live Productions ranging from House, Electronica, DubStep Hard Rock, Metal, Prog Original musical projects, Customized for Events Or Selection of Known tunes to make for a Great Night, whatever the occasion Matt Meli 0425 820 547

Pro Drummer Wanted. 1st EP currently getting mastered & 2nd being written. If you’re interested in a music career, check out our MySpace & shoot us an email. We’ll rehearse for live shows ASAP! Serious apps only. No Druggos. www.myspace.com/ SarajevoRoseMusic

iFlogID: 8121

iFlogID: 4974

INSIDEOUT are looking for a versatile bass player to join our Sydney based originals band. Must be reliable, have your own equipment and transport. Check out our MySpace. www. myspace.com/insideoutoz All enquiries contact Veneita on (0408) 232 110 or email vendel@bigpond.net.au

Originals band The Method is looking for a Bass player. The tracks are almost on iTunes and gigs are waiting. Check out the tracks on facebook. themethodband@hotmail.com

MUSICIANS AVAILABLE

Bass player looking to join a band. 4 years exp/own equipment. Currently a Uni student. Influences: RHCP, Primus, Incubus. Happy playing mostly all styles of music. Staying in South Brisbane. 0422030572 for more information.

Guitarist/keyboardist wanting to start an all-girl punk/garage band inspired by Elastica/Lush/Hole/Dollsquad. 18+ only. www.myspace.com/missm2009 I can also do our photography and promotion on radio.

iFlogID: 8258

iFlogID: 6007

iFlogID: 8023

MUSICIANS WANTED BASS PLAYER 16 y/o guitarist and drummer seek blues-rock bass player, in Ipswich area INFL- Led Zeppelin, Jack White etc. iFlogID: 8034

1st EP currently getting mastered & 2nd being written. We’re seeking a bassist with talent & great stage presence. Backup vox a bonus. Check out our MySpace & shoot us an email. We’ll rehearse for live shows ASAP! Serious apps only. myspace.com/ SarajevoRoseMusic iFlogID: 8361

Bass player wanted for signed, professional, touring Hard/Stoner rock band. Will be touring Australia soon with a view to touring Europe in 2011. Must be 100% committed to your craft. No time wasters.

iFlogID: 8546

for gigs,tours,sessions etc. Good equipment, professional attitude. Many years pro experience working with well known artists. Please check out my website, www.mikehague. com Ph 0419760940 iFlogID: 5819

GUITARIST Lead guitarist looking to form/ join a heavy metal band,on the central coast. Influences: Mercyful Fate, Judas Priest, Metallica,Iron maiden,Kalmah,Dethklok - Blake 0403138542 iFlogID: 7983

looking for band

iFlogID: 8500

BASS PLAYER WANTED Bassist wanted to join melodic metal band with death/black/thrash influence. Must be determined, skilled and have own gear and transport. Easygoing but professional environment. Ages 18-30 Wollongong/ Sydney based. Influences: Dimmu, Old man’s child, arch enemy, children of bodom, immortal, megadeth, slayer, amon amarth etc. Interest gained nationally and internationally with distribution deals on offer for the band. Great opportunity. www. myspace.com/asmodaiaus or email asmodai_aus@hotmail.com iFlogID: 5302

Brisbane alternative band ‘Pink Bullet’ are looking for a tight and energetic bassist with varied musical tastes and ability to play different

NOT AVAILABLE FOR FREE ADS. CL Cool drummer with pro attitude wanted to join original band. Influences: Queen, Muse, Silverchair with a french twist! Gigs booked, rehearsals in city area. Check out www. myspace.com/thenapoleonsband and contact Hadrien 0402 708 868 hbourely@yahoo.com

iFlogID: 8011

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Do you live to play? Whether you’ve just bought a new guitar or an old favourite is feeling a little faded, we’ll bring the best out of it! Rockin’ Repairs is based in Point Piper in Sydney, Australia and offers restrings, setups, upgrades and repairs for all guitars and basses; no matter what you play or how you play it, we’ve got the tools and techniques to breathe life back into even the most mistreated guitar. We treat every instrument individually; time, care and love is taken with each job to get the best from your guitar. We work hard to give you the feel and the sound you want. 0405 253 417 tara@rockinrepairs. com www.rockinrepairs.com

styles. Songs written, new EP ready to be launch soon,long term applications only please.

DRUMMER 7 piece band rehearse in Marrickvile Sydney every Saturday. looking for a drummer and a trumpeter.Contact imafunkybloke@hotmail.com

iFlogID: 8415

DRUMMER WANTED-PRO METAL BAND! Hard-rock / Metalcore band seeks committed, self motivated drummer capable of playing to a Pro standard. Must be available for regular gigs, rehearsal. Must have a great work ethic and be easy to get along with, and share the same passion to pursue music full-time. iFlogID: 6445

Guitarist with experience looking for drummer & bass player with own gear write music & start band. Open mind to music mainly Metal & Hardcore influences but most types of music. Based at Manly, but willing to travel. Message if interested. Jake 0427064905 iFlogID: 8281

iFlogID: 8279

iFlogID: 8359

iFlogID: 8123

Sydney Punk/Rock/Electronica band seeking for a drummer. Ready to start doing gigs. Please check out our songs at http://www.myspace.com/ saturdaynightoutcasts If interested, please contact us at saturdaynightoutcasts@gmail.com iFlogID: 8296

We need a versitile drummer to join our Sydney based originals band. Complete freedom to enhance our song writing with your ideas and drumming skills. Rehearsal in Bardwell Valley (Rockdale area) no studio rehearsal costs. www.myspace.com/ insideoutoz (0408) 232110 Veneita vendel@bigpond.net.au iFlogID: 7887

GUITARIST Brisbane originals rock band needs Lead Guitarist needed ASAP!: If Angus Young and Slash had a love child and that love child is you, we want to meet you. Got quality songs, management, good plan and cruizy guys. 0416445023 iFlogID: 7975

Christian Rhythm Guitarist 30 over for near established originals some covs band. Exp R/Guitarist, God 1st, team player. Style from ballads, Hard Rock, Latin Rock, to Acid/Jazz etc.Willing to play in Christian & secular Vens pay or no pay. Brisbane 0403752475 iFlogID: 8463

Christian Rhythm Guitarist wanted for near established originals some covs band. Exp R/Guitarist, God 1st, team player. Our style from ballads, Hard Rock, Latin Rock, to Acid/Jazz etc.Willing to play in Christian & secular Vens pay or no pay. Brisbane 0403752475 iFlogID: 7666

Christian Rhythm Guitarist wanted preferred age over 30 for near established Christian originals some covs band. Experience Rhythm Guitarist,prefer with some backing vocals, Christ centred, team player.

iFlogID: 7891

iFlogID: 7447

Sydney Mexican Mariachi band requires guitarists who have experience in playing Spanish or Latin music. Please contact Marc on 0415 073 306. For more info see our website: mariachiaustralia.com.au and MySpace: myspace.com/marcsantillana iFlogID: 7898

KEYBOARD Christian Keyboardist wanted over 30 keyboardist B/Vs? asap for Christian originals band. God 1st d.t.e. Jazz rock to Ballads. Filmier in Hammond, Wurlitzer, Rodes, sympath etc, effects, improvise, instrumentals. Willing to play pay or no-pay venues. Gigs coming soon 0403752475. iFlogID: 7668

Christian Keyboardist wanted preferred age over 30 male or female,for near established Christian originals band,with the view in maybe playing some Christian and Secular covers. iFlogID: 8465

KEYBOARD PLAYER needed. 50’s 60’s Rock and Roll band Based and Working Gold Coast area. With view to travel further. Vocals would be an advantage Ian 07 55364142. Mob 0415 4150 81. sabiansabian@gmail. com

iFlogID: 8391

Looking to collaborate with Central Coast based electronica artist(s). If you are comfortable with Live/Logic/ Reason etc - creating phat beats and deep grooves?! Hate working in isolation all the time? I know I do Drop me a line!

iFlogID: 7921

Guitarist and or Bassist needed in or near Central Coast to join Electronica/ Triphop/Rock project/band. 1/2 way through completion of a CD release influenced by artists such as Massive Attack, Morcheeba, Thievery Corp., Garbage etc. Great recording studio/ space! iFlogID: 8424

Guitarist wanted for professional,touring, signed Hard/ Stoner Rock Band. Must be 100% committed to your craft and ready to tour Australia with a view to touring Europe in 2011. Big opp. awaits the right player - msg me your details. iFlogID: 8544

GUITARIST WANTED TO TEACH

EXPERIENCED VOCALIST WANTED Experienced cover band vocalist wanted to work with DJs and cover bands in the corp and club scene. We have the work if you have the talent! Look at our site for info on us www. qcent.com.au Send demos to levi@ qcent.com.au call Levi 0412763191.

Original acoustic Solo and Duo’s acts wanted for midweek Sydney venues. 30-45 minute set of originals required, singer/songwriter vibe. Interstate artists welcome. Contact: nowmuzik@gmail.com for more info. iFlogID: 8171

SERVICES BEAUTY SERVICES

iFlogID: 7928

Female Backing vocalist required for high-level theatrical rock act. Ideal person would require a high standard vocally, enjoy harmonising with others, some dancing experience,work well with others and enjoy a challenge. Ideal working conditions and pay. Ph.Michael 0435108622 michael@ beyondthedarkside.com

BEAUTY FOR A CAUSE CAMPAIGN

iFlogID: 8363

Looking for a Bono - 3 competent muso’s (drum, bass & guitar) with 20 years plus experience ea looking for a singer to form a new U2 tribute in Brisbane. Respond to u2-tributebrisbane@hotmail.com iFlogID: 8447

Looking for beginner to intermediate singer who’s interested in learning/ improving and wanting to have some fun with a couple of laid back guys.. Alternate/Indie/Rock Genre. Contact Pete on (0421) 258 859. Hills/Western Sydney. iFlogID: 8070

SEEKING FEMALE SINGER TO RECORD A SERIES OF CHILDREN’S SONGS FOR AN ALBUM AND ALSO FOR LONG-TERM PROJECT. IF YOU PLAY PIANO/ KEYBOARDS OR GUITAR THAT IS A BONUS. iFlogID: 8381

SINGER NEEDED

ALEY GREENBLO, A CURRENT FINALIST FOR MISS EARTH AUSTRALIA HAS RECENTLY BEEN CHOSEN TO BE THE FACE OF THE “BEAUTY FOR A CAUSE CAMPAIGN”. ALEY HOPES TO CREATE AWARENESS ABOUT CURRENT ENVIRO PROBLEMS AND HAS SET OUT ON A MISSION TO MAKE A DIFFERENCE! THIS “DOWN TO EARTH” COMMERCE LAW STUDENT IS EXTREMELY PASSIONATE ABOUT THE ENVIRONMENT & IS DEDICATED TO ENSURING THAT OUR BEAUTIFUL PLANET REMAINS CLEAN & LITTER FREE! ALEY HAS BEEN INCREDIBLY ACTIVE IN PROMOTING ENVIRONMENTAL AWARENESS & HAS TAKEN ON VARIOUS ENVIRONMENTAL INITATIVES. “IT IS SO EASY AND EVERYONE CAN HELP BY DOING THE SMALLEST THINGS!” iFlogID: 5082

iFlogID: 8426

GREEN, GLAM & GORGEOUS

iFlogID: 8319

OTHER Acoustic Singer/Sonwriters wanted to play gigs in small Perth Backpackers to 40-50 people. No cash payment, but will supply rider consisting of BBQ + Case of beer of your choice. MP3 demo/myspace links to: Mark info@ oziinn.com iFlogID: 8379

Ever played with vomit in your mouth and your brain about to explode, or anger gripped in your teeth and your heart ripped to shreds? Or just for your brothers to sail magically across the electric air? Then Google “RemmosK” iFlogID: 8479

Guitarist and bassist looking for misc musicians for prog post hardcore pop iFlogID: 8326

MUSICIANS WANTED

Singer needed for hard rock band. We’re looking for a singer, male or female, for our all original hard rock band. The guitarist and I (bass) have been playing together for over 8 years now and over 3 years with our drummer. We have been writing new songs the last 2 years and continue to work on fresh original material. We have also been playing gigs all over Melbourne for the last year getting some stage experience up but we are really dying to get a frontperson with a voice that works with our music. We’re willing to give anyone a listen, we’re all easy going and in it for the fun above all else, but also been keen to take the next step and make it a serious commitment. Have a listen at our myspace link upon application. http://www.myspace.com/psyecho Please note the myspace recordings are over 2 years old now and we have progressed in style and skill greatly since then. iFlogID: 5131

Singer wanted on the sunshine coast . we are three talented young men looking for like minded people to do cover gigs on the sunshine coast free jam room onsite/mic’s, PA’s provided call dave 0432448878 iFlogID: 8375

If you want to join a band, form a band, find a new band member, get exposure, or just jam, then www. ozjam.com.au is for you! Whatever instrument or genre of music you play, Ozjam can connect you with other talented, like minded musicians who are looking to jam, gig, and even tour the World! Ozjam is loaded with features, it’s free to join and with over 4000 members its fast becoming the largest online music community in Australia today! iFlogID: 6499

NOT AVAILABLE FOR FREE ADS. CL chilledout guy, great personality seeking someone with strong mixing/ production skills for electronic act or licensing to compilations. using logic8.0 with bedroomstudio in innerwest. Mymusic is mainly house/minimal tech but love all dance. checkout www.soundcloud.com/kidjuicy serious replies only contact me rifraf69@ hotmail.com iFlogID: 8132

soundornot.com is starting to sound like Pink Floyd! iFlogID: 8540

We seek guitar players who are looking to earn money teaching guitar. Training and teaching materials are supplied. Teach from one of our

SINGER

Love to play the keys? Want to share them with your community? We are local church seeking enthusiastic keyboard players willing to learn and ready to worship. Please call 9544 1144 if that’s you!

iFlogID: 8298

Drummer looking for guitar player to jam and form band. Have own p.a/practice room, northside Brissy. Any age, band’s from leatherface, nirvana, face to face, none more black. Pretty opened minded, not necessarily what I want to play, more experimental.Matt-ph:33124222.

iFlogID: 8283

Mature dynamic metal band based in Hills/Blacktown,Sydney. Infl: Rock, Grunge, Black, Death, Hardcore, Groove, Doom...etc Looking for likeminded drummer, own gear & car. Practice weekly. Gig monthly. https:// myspace.com/cursedwithsanity https://dl.dropbox.com/u/4684637/ Bring%20The%20Rain.mp3 PLEASE NO TIME WASTERS! cursedwithsanity@hotmail.com

schools or your own location. Limited positions available. Visit www.g4guitar.com.au for details.

Sydney Mexican Mariachi band requires trumpeters who have experience in playing Jazz and/or Latin music. Call Marc on 0415 073 306. For more info see our website: mariachiaustralia.com.au and MySpace: myspace.com/marcsantillana. iFlogID: 7900

SINGER WANTED TO HELP SONGWRITER $40 PH RATE AND STYLE IS POP ,ROCK,BALLADS, PLEASE SUPPLY INFO WITH VOCAL SAMPLE TO KONEMANNMUSIC@HOTMAIL. COM iFlogID: 7954

Sydney Grunge/Rock band seeks singer to write melodies and music to gig originals. Influences include Silverchair, Nirvana, QOTSA, Foo Fighters etc Located in the Carlingford/ Paramatta area. We are all around 20 so similar age please. Contact Daniel 0403 885 433.

Aley Greenblo who was crowned as a finalist in January for the MISS EARTH AUSTRALIA PAGEANT TEACHES THE WORLD HOW TO ADOPT A GREENER WAY OF LIFE. Aley is studying COMMERCE LAW at UNSW and has been speaking out to encourage others to get active. In a speech Aley delivered to her fellow peers on Friday she mentioned that “MANY PEOPLE ARE INTIMIDATED BY THE IDEA OF ‘GOING GREEN’. IN REALITY HOWEVER, “GOING GREEN IS VERY SIMPLE AND MANY PEOPLE WOULD BE SURPRISED HOW EASY IT IS TO FOLLOW AN ECO-FRIENDLY LIFESTYLE”. ALEY GREENBLO’S ACTS INSPIRE US TO INCULCATE GREEN LIVING IN OUR LIVES AND SPREAD ENVIRONMENTAL AWARENESS IN OUR OWN LITTLE WAY. TO FIND OUT MORE GO TO: http://aleygreenblo.blogspot.com/ or facebook: aley greenblo iFlogID: 5314

GRAPHIC DESIGN BLACK STAR DESIGN 100 Full Colour A4 Gloss Posters = only $40 100 Full Colour A3 Matt Posters = only $50 100 Full Colour A3 Gloss Posters = only $80 www.blackstar.com. au CALL 02-9264 4776 EMAIL bsd@ zip.com.au iFlogID: 8096

Do you need a new website? Looking for a great price without having to compromise on quality? Make an impact online with a website that sells your business. 1-7 Page Website from $800 8-20 Page Website from $1200 iFlogID: 8210

FULL COLOUR POSTERS

iFlogID: 8025

WORLD-CLASS GOSPEL SINGERS wanted for international CD project. Whitney Houston style sopranos particularly sought. See www. THE001Music.com for full details. God Bless You! iFlogID: 8344

SONG WRITER GET SIGNED TO A 360 DEAL! Male singer-songwriter wanted (experienced)! Drummer is forming a fast paced professional original industrial rock/metal band to get signed to a 360 deal. Must be ambitious, selfmotivated, committed, reliable and have a lot of drive. Musical direction: Marilyn Manson, Rammstein, and Static-X. Age: 18-30. Rehearsing at Wetherill Park N.S.W. Only contact me if you want to get signed to a 360 deal! Phone Will: 0413 772 911.

Visit our website for an extensive price list and other services! iFlogID: 6348

graphic design, album design, logo design, band posters iFlogID: 8254

iFlogID: 7915

For a limited time. Free online and print classifieds Book now, visit iflog.com.au 57

MUSICIAN & BAND WEBSITES

MULTIMEDIA FOR MUSICIANS Reapers Image Design.All your multimedia needs met-logos,cd art & layout design,posters,stickers,video editing & filming,DVD construction, Multimedia solutions. Cheapest rates in Melbourne, we’ll beat any other legitimate quote. reapersimagedesign.com.au <http://reapersimagedesign.com.au>0417 393 706

WANTED GUITARS LOOKING FOR ESP Looking for an Esp Horizon black. New or used. Email For more info. wtf_juice@hotmail.com iFlogID: 5875

iFlogID: 5849

Create your presence online and get noticed. Sydney based web designers are here to help you create and design your website with ease. We specialise in building websites that work. When you hire us to design your website we’ll give you a product that looks great and that actually works for your business or service. Packages start from $400 Call Richard or Kelly on 0424 125 169 iFlogID: 6665

iFlogID: 8212

PEWTER HEARTAGRAM / PENTAGRAM HIM PENDANT $7.95 www.theinnerlight.com.au This handcrafted necklace is made from Nickel Free Pewter and strung on an adjustable waxed cotton cord. Visit www.theinnerlight. com.au and type HEARTAGRAM in the search bar, or click on PENDANTS. iFlogID: 7331

MYSPACE BAND PROFILE FROM 200$

ZUMBA CLASSES @ Bondi Junction

I’m starting a new business in CSS programming and I’m willing to charge very cheap to gather some folio with customized myspace profiles. This price will certanly increase after some productions, so be quick to not loose the oportunity. To know more about my work visit www. fugadalula.com.br/blog To quote: renato@fugadalula.com.br Thanks! iFlogID: 6481

OTHER Do you want to perform or tour? Need help sourcing funds for? Professional, affordable, down to earth grant writing and event/tour planning assistance. Email: speakeasywordsandmusic@gmail.com iFlogID: 8317

ILLUSTRATOR! BOOKS TO ALBUMS

Do you need an affordable Illustrator? Freelance illustrator Paul Ikin can create a range of styles for your project. No hidden cost at an affordable price. Album Covers - Film Clips - Book Sleeves - Children Books - Online Images - Fliers - Posters Editorial Artwork. Visit www.paulikin. com - T: 0403 996 129 iFlogID: 5133

Man with a van.

New artists have joined and new tracks have been uploaded since you last visited. Check back and check out the new material! Vote now! Upload your sounds to soundornot.com!

iFlogID: 8292

iFlogID: 7845

TUITION

OTHER *****PROMOTERS WANTED***** We are looking for outgoing people that have a huge passion for music and club life. The job suits people with large social networks and go clubbing regularly. Ph: (03) 96399990 or email admin@djsunited.com.au iFlogID: 8505

ADVERTISE YOUR BAND/BUSINESS ON WWW.ROCKNPOPS.COM LINKS TO BAND SITES- FREE, ALL OTHER ADVERTS- $10 MONTH. 6 CATEGORIES TO CHOOSE FROM. WWW. ROCKNPOPS.COM

iFlogID: 7945

MISS WORLD AUSTRALIA FINALIST

ABLETON CERTIFIED TRAINING Audio Courses & Tuition by Australia’s Leading Producers - [Book Now & Save up to 40% OFF Ableton Live 8] CONTACT: bookings@liveschool.net iFlogID: 5258

BEGINNER DRUM LESSONS!! I am offering beginner drum lessons for only $15 per half hour. With over 10 years of drumming experience I can help you get started in any genre of music. If your interested call/txt me on 0423220334. iFlogID: 8190

P&O/DJ BOOTCAMP CRUISE P&O have teamed up with DJ Bootcamp to bring u Australias 2nd, 8 day/3 island professional DJ Course Cruise.Our First cruise was sell-out, so we’re doing it again! Learn professional DJing and enjoy, food,entertainmet,accommidation (1-4 people to a cabin) and 3 islands!Early booking discounts plus $75 bucks on board spending money if booked before Oct 31st, 2010.Go www.djbootcamp.com.au to book 95472578 info. DJ Bootcamp’s P&O Cruise sets sail July 17, 2011 so move it, move it, move it! iFlogID: 8304

SHARE ACCOMMODATION AVAILABLE St Helens Pk 2 ROOMS : $125 EACH / PER WEEK No Extra Costs Unfurnished Rooms Built Ins Shared Duplex with 25 y.o Male Living Space is fully furnished with Air Con 1 Bathroom (Shower + Bath) Kitchen and Laundry iFlogID: 8249

11 day Miss Bikini World competition for a reality TV show which will provide great exposure. Aley will also be photographed during the competition and these photo’s will be circulated through the press and gain major publicity. In return, Aley has allowed her pictures for advertisement purposes for your own business. Additionally your logo and website link will be put on the official MISS BIKINI WORLD AUSTRALIA website as well as on Aley’s blog and other social networking pages. Aley is currently also engaging in Social Media, utilising Facebook as a way to engage with the public, increase my fan base, and raise awareness for local charities to protect the environment. The page will be custom designed, and is offering a sponsor to completely brand her Facebook page. You will also have the opportunity to run competitions on my page, as well as offer discounts, and engage with my audience. Working with a top global marketing company based in Australia, the Facebook fan page will have 10,000 fans by the end of August 2010. These fans are highly targeted towards your demographic, and will be a great way to engage with them. Please see Aley’s blog for more info about her and we look so forward to hearing back from you http://aleygreenblo.blogspot. com/ Facbook: Aley Greenblo Email: aley_greenblo@hotmail.com iFlogID: 5560

ALEY GREENBLO has been selected to represent SYDNEY and attend the NATIONAL FINAL OF MISS BIKINI WORLD AUSTRALIA IN DARWIN. Aley will be competing against 34 other girls and the winner will represent Australia at the international final. Aley is currently MISS GLOBAL AUSTRALIA, MISS SUPRANATIONAL AUSTRALIA and a MISS EARTH finalist and is in search for a sponsor. Diesel Promotions will be filming the

WHY RECORD AT HOME?

345.

RECORD, MIX AND MASTER YOUR DEMO FOR SEPTEMBER ONLY!

ALSO AVAILABLE:

GRAPHIC DESIGN, WEBSITE DESIGN, CD DUPLICATION, BRAND MERCHANDISE

BOOK IN TODAY, CALL NATHAN ON 0431 016 445

www.tallpoppystudios.com ELEMENTS COLLECTIVE Hip-Hop Workshops & Performances Specialised classes inDJ’ING BEAT PRODUCTION EMCEEING / SONGWRITING DRUMMING BEAT BOXING RECORDING B-BOYING / B-GIRLING STREET DANCE STYLES and much more!

Recording & live gear hire

Classes available for Kids through to adults, in Beginner to Advanced levels! Studio Location17 McLachlan Street, Fortitude Valley For more info visit www.elementscollective.com.au

For a limited time. Free online and print classifieds Book now, visit iflog.com.au 58

music, dance & drama

GREEN JAM WEEKEND GLOBAL GROOVES PROUDLY SUPPORTED BY

PRESENTING PARTNER

QPAC.COM.AU

MAJOR PARTNER

Three time Grammy nominee TONI CHILDS will once again thrill audiences with her signature husky vocals and emotive lyrics. Don’t miss Toni performing her blockbuster hits as well as showcasing her album Keep the Faith.

19 OCTOBER | LYRIC THEATRE, QPAC A powerful play about family and culture and the ways in which storytelling binds people together THE AUSTRALIAN

QPAC PRESENTS

“... breathtakingly, almost painfully beautiful.” daily telegraph

Wesley Enoch’s

THE STORY OF THE MIRACLES AT COOKIE’S TABLE A BUNGABURA PRODUCTION

STARRING AND DIRECTED BY

brisbane premiere season 18-27 november playhouse, qpac sydneydancecompany.com

Leah Purcell Winner Patrick White Playwrights Award 2005 Winner Helpmann Award Best Actress in a Play 2008

14-30 OCTOBER | CREMORNE THEATRE, QPAC

BOOK NOW | QPAC.COM.AU | 136 246